Fig. 4. A Tamil family mourns before a portrait at Mullivaikkal Remembrance Day that marks the end of the war, 2018. In the postwar, these humble everyday photographs, made for the most part by local photography studios during the course of the conflict, photographs spanning from NIC portraits to family snaps, feature in a vibrant political re-routing. The mobilisation of personal and official photographs within spaces of defiant commemoration where the state’s unease about Tamil nationalism endures, as well as spaces of protest have underscored the state’s prevarications on reconciliation and transitional justice. For the Sri Lankan Tamil community, photographs underpin their political claims bound to the inequities of citizenship where Sinhala Buddhist Nationalism has rapidly become the hegemonic basis for determining belonging as well as practicalities of citizenship. The use of these photographs has also itself become a genre for photo/journalists as they place such acts within a globalised aesthetic and lineage of resistance against state atrocities ranging from Argentina to Kashmir. Photograph by Vindhya Buthpitiya; PHOTODEMOS: Citizens of Photography: the Camera and the Political Imagination

Image

Image