So after coming back from the utterly exhausting walk (the first day being the hottest in Goa for the past couple of years), Residency Gods divulged that it wasn’t a part of my brief to be walking with the photographers in the first place – they were just testing how closely I had read my brief.
Regardless, I think that the journey was one of the best exercises I’d undertaken in a very long time. No clichés of finding myself or the ilk here (I never thought I was lost in the first place!), but it was fantastic to see the cross-section of Goa the way we did. From the touristy Cyan of Calangute to the fascinating Van Dyke Brown of Aldona, the Salt Print tawny haze of the mining zones after Bicholim to the Gum Bichromatized quaint, colorful, natural warmth of Sanquelim . Walking a sterile NH17 might not have been my choice of spending a hot Saturday morning, but it surely put into perspective the rest of the of the places the journey meandered to.
As I mentioned in my previous post – this entire residency is a foray into learning to experiment again.
For me, this means un-learning rote.
The thing is, despite having spent a better part of the past decade in Japan, I’d never ever touched Haiku (俳句) even with a ten foot pole. The meter, the rhythm, the timbre of the words, the restriction to nature as a subject was all just way too constricting for me to even consider giving it a try.
But I think this is as good a time as any for me to go the Haiku way.
And so the next post will be my bravest experiment so far. A Haiku documentation of the journey as I saw it.
My frames. My compositions. My colors.
From my own literary darkroom.
(Image © Vivek Muthuramalingam)