Exhibition: September 30, 2018 – January 6, 2019East-West Center Gallery, Honolulu, Hawai‘i

The East-West Center Arts Program presents

Capturing a LegacyFour Generations of Nepalese Photographers

Curator: Cristeena ChitrakarEast-West Center Gallery Curator:

Michael SchusterPhotographers: Dirgha Man Chitrakar

Ganesh Man Chitrakar Kiran Man Chitrakar

Swaraj Man Chitrakar Gopal Chitrakar

Navesh ChitrakarInstallation Design: Lynne Najita

Coordinator: Eric Chang

Capturing a Legacy: Four Generations ofNepalese Photographers tells the storyof the legacy of the Chitrakar family asartists and visual documentarians.Nepal has witnessed dramatic politicaland cultural changes and this photo-graphic exhibition captures key momentsin Nepal’s history through the lens offour generations of photographers. Inthe 14th century, the inhabitants of theKathmandu Valley were divided into a

profession-based caste system. It wasthen that the ‘Chitrakars,’ meaning‘painters,’ acquired their status. The Chitrakars traditionally learned theirpainting skills under the tutelage oftheir fathers and to this day members of the community continue to createtraditional paintings for specific rituals.With the introduction of photography toNepal in the late 1800s, many Chitrakarsalso began to work in this medium.

C

DEVOTEES AT PASHUPATINATH TEMPLE IN KATHMANDU, 2018, PHOTOGRAPHER: NAVESH CHITRAKAR

Dirgha Man and Ganesh Man captured images of Nepal when it wasclosed to the outside world and accessto photography was limited, especiallyduring the Rana Dynasty. Photographywas restricted to the ruling and eliteclasses as a way to symbolize their privileged status. However, after the endof the Rana rule, photography took a different shape in the private and publicspheres. Photography was adopted bythe state, international agencies, andthe public to tell a national story of development. The content shifted fromportraits and political ritual to photo-graphs of development, the land, andthe people. Kiran Man and Swaraj Man are respectively the grandson and great-grandson of Dirgha Man. Keeping withinthe tradition of artists, the needs of thestate, and changes in technology, thisfamily moved from painting to photographyand then to videography. Kiran Manworked as a cameraman for the nationaltelevision station in Nepal and is also athird-generation photographer. SwarajMan followed in his forefathers’ footstepsas a fourth-generation photographerand explores new perspectives on traditional subjects and compositions. Gopal, Kiran Man’s brother-in-law,and Gopal’s nephew, Navesh, also work

Dirgha Man Chitrakar (1877-1951)was one of the early pioneers of photography in Nepal. An adept painterfrom a young age, he also embraced photography. During the Rana Dynasty,he was employed as a court painter andphotographer in the palace of Prime Minister Chandra Shamsher (ruled 1901-1929) and also accompanied the PrimeMinister during his visit to England andFrance in 1908. He documented theShah kings and ruling Rana Dynastyprime ministers, their families, political ceremonies, religious rituals, and huntingexpeditions. The Rana Dynasty primeministers were the hereditary aristocracythat ruled Nepal from 1846 to 1951. When Dirgha Man retired at the ageof 71, his son Ganesh Man Chitrakar(1916-1985) inherited his position. Trainedunder his father, Ganesh Man worked inthe Rana palace until 1951 when the Ranarule came to an end. At this time, Nepalalso opened to the outside world andthe first development organizations setup offices in the country. Ganesh Manwas employed as a photographer by the USAID Communication and Media Department and then later by UNESCO.He extensively documented new development throughout Nepal, thelandscape of Kathmandu Valley, and the surrounding cities. Later in 1975, heopened a black-and-white photo studionamed Ganesh Photo Lab.

as visual documentarians. Yet, by contrast, Gopal and Navesh come froma family of businessmen and sweets makers. Although some generations agothey were painters, their family departedfrom the tradition. Growing up, Gopalwas tired of being asked if as a Chitrakarhe could paint. He then trained as anartist and later took up photography. Hehas since worked as a photojournalistand is also a painter. Many Chitrakars

PRIME MINISTER CHANDRA SHAMSHER J. B. RANA WITH FAMILY,RANA DYNASTY, 1910S, PHOTOGRAPHER: DIRGHA MAN CHITRAKAR

ARIAL VIEW OF SWAYAMBHU, BUDDHIST HOLY SITE, KATHMANDU, 1950S, PHOTOGRAPHER: GANESH MAN CHITRAKAR

DETAIL: MONKEY AT PASHUPATINATH TEMPLE, 2018, PHOTOGRAPHER:SWARAJ MAN CHITRAKAR

Nepal’s unique cultural heritage has also been a subject for these photographers as Nepal is exposed to many threats such as negligence, urbanization, mass tourism, pollution,and vandalism. Safeguarding culturalheritage is a national priority. Further,the 2015 earthquakes significantly damaged cultural heritage sites, someirreversibly. These photographs remaina testimony to Nepal’s heritage sites andlandscape, and the surviving imagery

leaves us a rich visual legacy to derivetremendous amounts of information.For the past thirty years, Kiran Man hasbeen taking photographs of landscapesfrom the same locations as his forefathers, to show the transformationsover time. Similarly, Kathmandu and itsurban landscape have been inspirationalfor Navesh and Swaraj Man. Photography has evolved exponen-tially since its invention. Digital imageryhas changed the way we take and viewphotographs, and new technologies havemade it easier to capture, share, and circulate images. Furthermore, thesetechnologies have assisted in preservingold images through digitization. Theglass plate negatives that Dirgha Mancreated and the acetate negatives thatGanesh Man, Gopal, and Kiran Man developed have been digitally archived,and images from a hundred years agoare displayed together with photographsfrom today. The recurring theme of achanging Nepal—the politics, heritageand culture, the sprawl of urbanization,the lifestyle, and infrastructural transformation—are evident in this collection of images that span morethan one hundred years. Additionally,themes of conservation, tourism, climate change, and changing attitudestoward women demonstrate Nepal’sparticipation in global discourses.

—Cristeena Chitrakar

have moved away from their traditionalprofession, but Gopal is one of the fewChitrakars who is well known as a painter.His nephew, Navesh, was inspired byGopal to become a photojournalist. Hisfocus has largely been on current events,festivals, culture, lifestyle, and creatingstories with a modern approach. Hiswork has been featured in internationalmagazines and newspapers. The Chitrakar family history is intertwined with Nepal’s political history. As painters, photographers, and cameramen through the generations,these Chitrakars have made importantcontributions to Nepal’s internationalvisibility. Politics and imagery are deeplyconnected, and photography can be utilized as a tool to promote politicaland social agendas. Gopal, Kiran Man,and Navesh worked as journalists fornational and international news agencies.Unlike Dirgha Man and Ganesh Manwho were invisible documentariansworking for the courts, photographersnow have recognition, but more importantly, also have the freedom ofcreativity and imagination. Photographytoday is more than just the mechanicalcapturing of images, and the exhibition’sseries of photographs on politics illustrates the shift from formal reportingto storytelling.

MEMBERS OF THE MAOIST PEOPLE’S LIBERATION ARMY, 2006, PHOTOGRAPHER: GOPAL CHITRAKAR

ARIAL VIEW OF SWAYAMBHU, BUDDHIST HOLY SITE, KATHMANDU, 2010, PHOTOGRAPHER: KIRAN MAN CHITRAKAR

Printed with soy based inks on recycled paper

The East-West Center promotes better relationsand understanding among the people and nationsof the United States, Asia, and the Pacific through cooperative study, research, and dialogue. Establishedby the U.S. Congress in 1960, the Center serves as aresource for information and analysis on critical issues of common concern, bringing people togetherto exchange views, build expertise, and develop policy options. The Center is an independent, public,nonprofit organization with funding from the U.S.government, and additional support provided by private agencies, individuals, foundations, corporations, and governments in the region.

The East-West Center Arts Program fornearly 40 years has enriched the community throughconcerts, exhibitions, and community engagementfocused on arts of the Asia Pacific region, and by arranging cultural and educational programs byartists who are skilled in bridging cultures.

EWC Arts Team: Karen Knudsen, director, Office of External Affairs; Eric Chang, arts programcoordinator; Michael Schuster, Ph.D., curator; AnnieReynolds, arts program assistant; William Feltz, adjunct arts specialist; June Kuramoto, program officer; Gary Yoshida, development officer; JenniferLeger, development assistant; Hunter Kaye & Oriana Filiaci, student assistants

Mahalo: Dirgha Man Chitrakar, Ganesh Man Chitrakar, Kiran Man Chitrakar, Swaraj Man Chitrakar, Gopal Chitrakar, Navesh Chitrakar,Cristeena Chitrakar, Dirghaman & Ganeshman Chitrakar Art Foundation, Mary Carroll, Arjun Aryal,Society of Nepalese in Hawai'i (SNEHA), KrishnaLamichhane, Dr. Sienna Craig, Nancy E. Hulbirt,Brooks G. Bays Jr., UHM SOEST, Lynne Najita,Kennedy & Preiss Graphic Design, Leilani Ng, Colorprints Inc., Shayne Hasegawa, Derek Ferrar,Phyllis Tabusa, Lucy Kamealoha, Deanna O’Brien,Melanie Keller, Tina Tom, Patsy Hiraoka, Marie Ebesu,Reynold Balintec, EWC Facilities Management

About the Curator:Cristeena Chitrakar is the great-grand-daughter of Dirgha Man, one of Nepal’spioneer photographers. Similar to thephotographers preserving a heritage, she is an art historian and continues her family’s tradition not as a visual documentarian but as a documenter ofthe culture around photographs. Through this exhibition she hopes to create memory through theimagery.

Sunday, September 30, 2:00–3:30 p.m. Exhibition Gala Opening including reception and walkthrough by exhibitioncurator, Cristeena Chitrakar.

Sunday, October 7, 2:00–3:00 p.m. Illustrated Talk: “Past and Present: Stories of the Chitrakars” by Navesh,Swaraj Man, and Cristeena Chitrakar

Sunday, October 21, 1:00–3:00 p.m.Family Sunday: Music Workshop withDr. Chet-Yeng Loong, Professor of Musicat UHM and Nepalese Folk DanceWorkshop with Sophiya Singh, SNEHA

Sunday, October 28, 2:00–3:00 p.m.Illustrated Talk: “Kumu Hula Joan S.Lindsey: Her Life and Legacy” byKumu Lilinoe Lindsey

Sunday, November 4, 2:00–3:00 p.m.Performance Demonstration: “The Legacyof Onoe Ryuu (Japanese classical dance)in Japan and Hawai‘i” by Gertrude Tsutsumi and Howard Asao, artists

Special Events In the EWC Gallery with free admission, open seating, no reservationsGuided exhibition tours will be offered Sundays at 3:00 p.m. (no tours Dec. 2 & Jan. 6)These programs highlight aspects of Nepalese culture, as well as the transmission of cultural legacies in Hawai‘i and abroad.

Sunday, November 18, 2:00–3:00 p.m.Illustrated Talk: “Incorporation of Hinduism and Buddhism into RichNewari Culture in Nepal” by BedikaUpadhyaya, Vice President, SNEHA

Sunday, December 2, 2:00–3:45 p.m.Film: “King of Masks” In 1930s China,aging street performer Wang (Zhu Xu)yearns for a male heir. Upon learning hisyoung disciple’s secret, he must choose between following the strictures of societyand the fatherly love he feels for his newprotégé. 1996, 90 minutes.

Sunday, December 9, 2:00–3:00 p.m. Performance Demonstration: “Uta nuMichi: The Path of Learning OkinawanSongs” by Norman Kaneshiro, artist

Sunday, January 6, 2019, 2:00–3:30 p.m. Film: “Jhola” Nepalese film about Sati culture prevalent until the 1920s in whichthe wife had to immolate herself upon herhusband's death, typically on his funeralpyre. 2014, 90 minutes.

The EWC Arts Program is supported in part byAqua-Aston Hospitality, The Hawai‘i PacificRim Society Hideo Murakami Fund for theArts, Friends of Hawai‘i Charities, Barbara B.Smith, Richard H. Cox, Jean E. Rolles, EWC Arts‘Ohana members, Jackie Chan FoundationUSA, The Arthur Goodfriend InterculturalFund, and other generous donors.

ANG TSHRING SHERPA PLAYS A SHOT AT KONGDE, 2009, PHOTOGRAPHER: GOPAL CHITRAKAR

East-West Center GalleryJohn A. Burns Hall, 1601 East-West Road(corner Dole St. & East-West Rd.)

Gallery admission is free Hours: Open Weekdays 8:00 a.m.–5:00 p.m. and Sundays Noon–4:00 p.m.Closed Saturdays, federal holidays, and Nov. 11, 22, Dec. 24, 25, 30, 31, and Jan. 1

Parking on the UH Mānoa campus is normally free and ample on Sundays.

Free school & group tours available.

For further information: 944-7177arts@EastWestCenter.orghttp://arts.EastWestCenter.org

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Photographs in this exhibition are the property of © Dirghaman & Ganeshman Chitrakar Art Foundation