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The term role reversal doesn’t solely signify makeshift garments that have been traded to the opposite gender – it represents other issues of pivotal importance that revolve around identity, societal constructs and norms, emerging from how both the sexes are expected to behave. It goes on to divulge into much ponderous subjects such as non-binary people (the third sex), dealing with toxic masculinity and women empowerment. Saunak Shah’s photo series that depicts role reversal which takes a rather sardonic take on patriarchy through classical portraits of royals, which stems from age old deep conditioning. Which explains why it’s still rampant in today’s day and age. Making avid use of sartorial and minimalistic yet ornate jewels, this series’ desire upholds the need to sanction a change regarding the solemn attitudes towards patriarchy and all that it instills.
What made you choose the topic role reversal, please further elaborate on the project/photo series?
Role Reversal is a modern day spin on the age old patriarchy in Indian classical portraits of royalty where men are portrayed as powerful and women as wives, consorts or concubines.
Dating back to early 1900s, the shoot is inspired by a family portrait of Maharaja Bhupinder Singh and his 5 wives and a book titled ‘The Magnificent Maharaja’ by Khushwant Singh where the author remarks the Maharaja as a headstrong bully, a debauch, drunkard, womaniser and philanderer. Role Reversal challenges the viewer to rethink the hierarchy of women in a male dominated society.
India has seen her share of strong women and role models such as Kittur Chennamma, Sarojini Naidu, Rani Lakshmibai, Mother Teresa, Indira Gandhi, Kalpana Chawla to name a few throughout history, yet much of the current day social and political landscape is influenced by the legacy of men, age old customs and archaic traditions and a mindset that objectifies and commoditizes the female gender at large.
Fast forward to 2019, “Role Reversal” as a concept helps deconstruct ancient Indian traditions and aims to portray women as authoritative and unapologetic with the reverse analogy of men objectified as consorts. Much can be said about present day India where age old traditions re-surface and many still prevail across the country and this set delves into striking a conversation challenging the perception and identity of the modern day Indian woman.Role Reversal is more than just a switch of clothing, it brings to the surface other issues around identity and gender norm and the societal constructs around how men and women (and non-binary people) are perceived. Topics surrounding the third sex, toxic masculinity, women empowerment.
About the Styling: The female model portrays the Raja, is seen wearing an embroidered Sherwani to display her status in the community and to make her stand out. Her broadened shoulder pads, straight fit and long sleeves exhibit boldness and structure in her look. She is adorned with Kundan and pearl jewelry with statement pieces to bring emphasis to her royal status. The headgear is a traditional turban that is worn by Indian men on special occasions. It gives a sense of royalty to the entire look and brings it together. The male models portray the Raja’s consorts. For their looks the stylist used similar vintage handwoven Banarasi silk saris. The thought behind it is to create a similarity of style and status between the two models to enhance the idea of Royalty and their workings. The stylist decided to go sans blouse for the shoot to focus all attention to the draped garment itself. The jewelry used for male models was gold temple jewelry, depicting the gods and goddess. The male models have thoughtfully been styled to showcase a sense of minimalism with their look.
What are some of your biggest inspirations over the tenure of your artistic career, as a photographer?
Culture: Having lived half my life in India and the second half in the United States, I have had the chance to experience and be inspired by two completely opposite cultures that have moulded me into the person I am today. I have more appreciation for India; the motherland and its people and yet I find myself torn between the two constantly trying to find meaning in where and who I am. Having lived a bi-cultural life, I have been able to draw inspiration from one another; continuing to grow as an artist and my point of view.
Design: Graphic, Visual and Architectural Design have been a huge influence in my work. I cannot seem to see day to day things and spaces the same way and yet I’m blessed that I do. Design has helped me find compositions (and composure) in life and literally through the viewfinder. I see the imbalances in nature, the negative spaces, the beautiful imperfections and learn to debunk the fundamentals of text book design theories. I’m intrigued by harmony, symmetry and perfection.
Movies: Characters in a film, sense of place, styling, narrative and art direction have greatly influenced my work from the movies. All the way from set design, to use of color, props and themes have helped me picture, visualize and re-imagine scenes. All the way from Tarantino, Wong Kar-Wai, Satyajit Ray, Zoya Akhtar, James Cameron, Ingmar Bergman to Zhang Yimou. Some of my favorite directions are ones who have challenged convention, embraced controversy or have helped capture humanity or a figment of our imaginations.
How do you create and what message do you wish to evoke through your photography?
My projects typically fall within commissioned works or collaborations. In either scenarios, I strive to present my unique and honest point of view and aesthetic. Like any project I undertake, there are phases of research and discovery, concepting and drafting mood boards, recruiting and team building, planning and budgeting, execution and delivery. Without sounding too technical, I do enjoy the process that leads to shoot day and small nuances of details that make the work memorable. Outside the parameters of having great equipment, skill and technical know-how, I feel timeless work requires vision and foresight and it is more important to be intentional and authentic than being flawless. My purpose in my work is to showcase themes, topics and issues that are important to me as a queer artist, minority Indian-born person of colour living in New York. I feel as artists we have a social responsibility to own our own narratives and no matter how much time it takes, it’s essential to be aware of what we put out in the universe. My goal with creating is to be able to positively inspire (in my own small way) the young creators who are so easily influenced by what they see. I wish to evoke conversation around topics around colour of skin, identity, sexuality, inter-race, self-confidence that I feel is greatly needed and is missing in mainstream media.
Are there any Indian contemporaries of yours whose work you admire? (Instagram handles)
Kunel Gaur @kunelgaur , Mohit @mohitfornow, Shivam Bapat @balconyofinfinity , Ashlen Sigh @ashlensingh, Aditi @ms_selfportrait, Swapnil Junjare @satanssj, Dhaval @weirdsense, Nandi Vardhan Reddy @nandivardhanreddy_, Nihal @tintedtakes, Mihir Thakkar @themihirthakkar, Aleka @alekhachugani, Palk @oatcookie_child.
Growing up what piece of art had a major impact on you?
I grew up being inspired by Steve McCurry and his portraits that showcased a glimpse into India. Back in the day, we had a subscription of NatGeo and it was like a window into the world for me (Even the world closest to me). The photo of the “Afghan Girl” still gives me the chills. His works from India, even though they often depicted India’s calamity and under-resourced communities, was a start for me to see portraiture with a different lens and would be the start of how I saw colour, composition, light and overall mood. I feel a powerful photograph has the ability to transport you to a time and place and leaves you with a sense of storytelling that need no words. As I grew up I was influenced by works by Cindy Sherman, Platon, Robert Mapplethorpe, David LaChapelle, Andy Warhol, Paula Scher amongst many more.
If you could propose and collaborate with the Indian Government, what would it be and why?
An awareness campaign showcasing the humanity, creativity and strength of transgender people that would aim to foster acceptance, love and livelihood for the third gender and challenge double-standards, blinded traditions and hypocrisy faced within their own LGBTQ community and citizens of the country at large.
What is the most memorable project that you’ve created so far, what’s the message behind it?
One of my favourite and most memorable project is the NamaSlay series I shot with a team of desi creatives in New York. The concept aims to spotlight “people of colour” of south-asian heritage killing it in their way on foreign soil. Using ethnic styling and fashion, the series pushes the viewer to see people of colour as the front-runners and heroes of their own script. The professions of the models range from varied backgrounds from marketing executive to psychiatrist to ophthalmologist and yet their side hustles is what brings them together; slaying the game in their own unique way. This shoot was important because it drew attention to a non-mainstream topic. We wanted to show the strength, wit and beauty in what south asians have to offer and change perceptions.
One track you’re currently listening to?
Memories by Maroon 5
A project you wish you were a part of?
Charbagh for Sabyasachi by Tarun Khiwal.
Your favourite midnight munchies?
Greek Yogurt & Honey
Your greatest vice?
A good Mezcal; “Para todo mal, mezcal, y para todo bien, también.”
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