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"Gupta, Pamila"
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Portuguese decolonization in the Indian Ocean world : history and ethnography
Pamila Gupta takes a unique approach to examining decolonization processes across Lusophone India and Southern Africa, focusing on Goa, Mozambique, Angola and South Africa, weaving together case studies using five interconnected themes. Gupta considers decolonization as simultaneously a historical event and an ethnographic moment, accessed through written, oral and visual and eyewitness accounts of how people experienced of the transfer of state power. She looks at the materiality of decolonization as a movement of peoples across vast oceanic spaces, demonstrating how it was a process of dispossession for both the Portuguese formerly in power and ordinary colonial citizens and subjects. She then discusses the production of race and class anxieties during decolonization, which took on a variety of forms but were often articulated through material objects. The book aims to move beyond linear histories of colonial independence by connecting its various regions using the theme of decolonization, suggesting a productive way forward to writing post-national narratives. Finally, Gupta demonstrates the value of using different source materials to access narratives of decolonization, analyzing the work of Mozambican photographer Ricardo Rangel as well as lyrical narratives and ethnographical observations. Portuguese Decolonization in the Indian Ocean World provides a nuanced understanding of Lusophone decolonization, revealing the perspectives of people who experienced it.
Book
Portuguese Decolonization in the Indian Ocean World
Pamila Gupta takes a unique approach to examining decolonization processes across Lusophone India and Southern Africa, focusing on Goa, Mozambique, Angola and South Africa, weaving together case studies using five interconnected themes. Gupta considers decolonization through the twined lenses of history and ethnography, accessed through written, oral, visual and eyewitness accounts of how people experienced the transfer of state power. She looks at the materiality of decolonization as a movement of peoples across vast oceanic spaces, demonstrating how it was a process of dispossession for both the Portuguese formerly in power and ordinary colonial citizens and subjects. She then discusses the production of race and class anxieties during decolonization, which took on a variety of forms but were often articulated through material objects. The book aims to move beyond linear histories of colonial independence by connecting its various regions using the theme of decolonization, offering a productive and new approach to writing post-national histories and ethnographies. Finally, Gupta demonstrates the value of using different source materials to access narratives of decolonization, analyzing the work of Mozambican photographer Ricardo Rangel, and including lyrical prose and ethnographical observations. Portuguese Decolonization in the Indian Ocean World provides a nuanced understanding of Lusophone decolonization, revealing the perspectives of people who experienced it. This book will be highly valuable for historians of the Indian Ocean world and decolonization, but also those interested in ethnography, diaspora studies and material culture.
eBook
Of Sky, Water and Skin: Photographs from a Zanzibari Darkroom
In this article, I propose to take up the concept and physical space of a photographic 'darkroom' located in Stone Town, Zanzibar, to explore a set of images from the Capital Art Studio (1930-present) collection produced by Ranchhod Oza (1907-93), and inherited by his son Rohit Oza (1950-). I employ a concept of darkness to read this visual archive differently and propose multiple 'other lives' for a set of images. First, by bringing this African photography collection to light, I am taking it out of the 'dark rooms' of history in one sense and exposing it for interpretation. Second, I focus my lens on the Oza physical darkroom located in the back of the studio on Kenyatta Road in Stone Town, where photographs of a range of Zanzibari persons were both developed and printed and that open up the darkroom as a place of photographic complexity and sensorium, and not just mechanical reproduction. Third, I develop darkness as a form of beauty in certain images of sky, water and skin from this archive that showcase Zanzibar's position as an Indian Ocean island and port city whilst under rule by the Omani Sultanate (1698-1964) and British Protectorate (1890-1963). Fourth, I conceptualise the Zanzibar Revolution of 1964 as a time of visual darkness, which temporarily restricted photographic practices operating in Stone Town under the new Afro-Shirazi political party. Throughout my analysis, I use a framing of 'darkness' to interrogate photography as an aesthetic practice deeply immersed in materialities and metaphors of dark and light, black and white, and as integral to Zanzibar's oceanic islandness.
Journal Article
Futures, fakes and discourses of the gigantic and miniature in ‘The World’ islands, Dubai
This article takes the “island” as a key trope in tourism studies, exploring how ideas of culture and nature, as well as those of paradise (lost) are central to its interpretation for tourists and tourist industries alike. Increasingly, however, island tourism is blurring the line between geographies of land and water, continent and archipelago, and private and public property. The case of ‘The World’ islands mega project off the coast of Dubai (UAE) is used to chart the changing face and future of island tourism, exploring how spectacle, branding and discourses of the gigantic, miniature, and fake, alongside technological mediations on a largescale, reflect the postmodern neoliberal world of tourism and the liquid times in which we live. Artificial island complexes such as this one function as cosmopolitan ‘non-places’ at the same time that they reflect a resurgence in (British) nascent nationalism and colonial nostalgia, all the whilst operating in a sea of ‘junkspace’. The shifting cartography of ‘the island’ is thus mapped out to suggest new forms of place-making and tourism’s evolving relationship to these floating islandscapes.
Journal Article
Of Sky, Water and Skin
In this article, I propose to take up the concept and physical space of a photographic ‘darkroom’ located in Stone Town, Zanzibar, to explore a set of images from the Capital Art Studio (1930–present) collection produced by Ranchhod Oza (1907–93), and inherited by his son Rohit Oza (1950–). I employ a concept of darkness to read this visual archive differently and propose multiple ‘other lives’ for a set of images. First, by bringing this African photography collection to light, I am taking it out of the ‘dark rooms’ of history in one sense and exposing it for interpretation. Second, I focus my lens on the Oza physical darkroom located in the back of the studio on Kenyatta Road in Stone Town, where photographs of a range of Zanzibari persons were both developed and printed and that open up the darkroom as a place of photographic complexity and sensorium, and not just mechanical reproduction. Third, I develop darkness as a form of beauty in certain images of sky, water and skin from this archive that showcase Zanzibar’s position as an Indian Ocean island and port city whilst under rule by the Omani Sultanate (1698–1964) and British Protectorate (1890–1963). Fourth, I conceptualise the Zanzibar Revolution of 1964 as a time of visual darkness, which temporarily restricted photographic practices operating in Stone Town under the new Afro-Shirazi political party. Throughout my analysis, I use a framing of ‘darkness’ to interrogate photography as an aesthetic practice deeply immersed in materialities and metaphors of dark and light, black and white, and as integral to Zanzibar’s oceanic islandness.
Journal Article
Futures, Fakes and Discourses of the Gigantic and Miniature in ‘the World’ Islands, Dubai
This article takes the “island” as a key trope in tourism studies, exploring how ideas of culture and nature, as well as those of paradise (lost) are central to its interpretation for tourists and tourist industries alike. Increasingly, however, island tourism is blurring the line between geographies of land and water, continent and archipelago, and private and public property. The case of ‘The World’ islands mega project off the coast of Dubai (UAE) is used to chart the changing face and future of island tourism, exploring how spectacle, branding and discourses of the gigantic, miniature, and fake, alongside technological mediations on a largescale, reflect the postmodern neoliberal world of tourism and the liquid times in which we live. Artificial island complexes such as this one function as cosmopolitan ‘non-places’ at the same time that they reflect a resurgence in (British) nascent nationalism and colonial nostalgia, all the whilst operating in a sea of ‘junkspace’. The shifting cartography of ‘the island’ is thus mapped out to suggest new forms of place-making and tourism’s evolving relationship to these floating islandscapes.
Journal Article
Retracted: Antimicrobial action of chemically modified cotton fabric with cyclodextrin
The following article from Advances in Polymer Technology, “Antimicrobial action of chemically modified cotton fabric in cyclodextrin” by Pamila Gupta, published online on 31 October, 2011 in Wiley Online Library (wileyonlinelibrary.com), has been retracted by agreement between the journal Editor in Chief, Avraam I. Isayev, and Wiley Periodicals, Inc. The retraction has been agreed due to overlap with a previously published paper, “Loaded cyclodextrin‐grafted‐cotton fabric with excellent antimicrobial property”, co‐authored by M. Bajpai, Pamila Gupta and S. K. Bajpai in Fibers and Polymers, Vol. 11, No. 1, 8‐13, 2010.
Journal Article