Bhajan Ashram, Vrindavan, India 2005

Curator: Looking at this photograph by Fazal Sheikh, titled "Bhajan Ashram, Vrindavan, India," and taken in 2005, my immediate impression is one of profound stillness and a hint of the spectral. Editor: Stillness? I see anything but stillness! To me, this gelatin-silver print feels incredibly active, almost like a wave about to crash. What creates this impression of movement for you? Curator: The draped figures, certainly, seem to be in motion; the blurring creates a sense of dynamism. But, despite that, I see a kind of collective meditative trance that holds the center. Notice how each figure is shrouded. In many traditions, veiling signifies humility, absence of ego. Their individual identities are subsumed into a shared spiritual purpose, creating a feeling of quietude. Editor: That's a fascinating reading. Considering Vrindavan's significance as a pilgrimage site and the prevalence of devotional practices, it does seem that the photographer captures something of that ritual atmosphere. However, I am still captivated by the motion conveyed. The photographic technique almost creates the sensation of being pulled along within this spiritual surge. What do you make of the choice to present it in stark black and white? Curator: The absence of color intensifies the focus on form and texture, and heightens the dreamlike quality. Black and white simplifies the visual field, drawing attention to the contrast between light and shadow and the dynamic repetition of form. Perhaps the monochromatic palette references older spiritual traditions where visual austerity was seen as closer to a divine ideal, while color represented something temporal. Editor: Or, viewed more critically, black-and-white photography carries its own heavy cultural baggage, doesn’t it? It can denote objectivity, documentary, “truth” and perhaps that aura of realism lends weight to the depiction of faith and devotion, subtly positioning it as an authentic experience, especially for Western audiences. Curator: An astute point, the selection of gelatin-silver, an early form of photography, further invites reflection on photography's truth claims. Even so, I feel like this piece encapsulates an interesting point between personal devotion, communal spiritual practice, and visual representation. Editor: I agree; it invites contemplation on many levels. Overall, considering its social and cultural layers, I find myself still deeply moved by its sheer power to stir.