Analysis Of Toda Man's Head And Kulis Of The West Of India

1946 Words Dec 15th, 2015 8 Pages
In the second and third photographs of the project titled, Toda Man’s Head and Kulis of the West of India, many of the same problematic assumptions were made by the original photographers. These two photos may not have been taken by the same person, but were published with the same objective of displaying “salvage paradigm” (Tankha). Which is “the attempt to retrieve and collate that which appeared to be dying out” (Tankha). This anthropological term fueled the British empires need to document and study other culture during most of their colonization of India during the 19th century. Often times during this crusade, the native ignorance to outsiders is what led them to be exploited by the photographers, which easily led them to neglect the positionality of the natives themselves. Unlike the first photograph, these man had absolutely no say about how they wanted to be portrayed. Both their original photos were taken to study primitive tribes and document their existence on the benefit of England’s curiosity for distance cultures. In during this, most of these men had no input to the studies intended audients and how they are going to be perceived. Furthermore, being a pieces of evidences in a study where the photographers and authors are trying to prove that there society is century ahead of yours and you are the key that links them together is very portentous of the British. In my opinion if these man had realized the photographers true intension, they would have never…

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