Tughlaq: A Wise Fool in Indian History
https://doi.org/10.5281/zenodo.11103752
Author(s): Dr. Phani Kiran &
M.K. Geetanjali
DOI: https://doi.org/10.5281/zenodo.11103752
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Volume 15 | Issue 2 | April 2024
Pages: 194-201
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Decoding History Through Images: An Analysis of Select Photographs from
Raghu Rai’s ‘A Tale of Two: An Outgoing and An Incoming Prime Minister’
Dr. Poorva Trikha
Assistant Professor,
GGDSD College, Sector 32,
Chandigarh.
Article History: Submitted-05/04/2024, Revised-15/04/2024, Accepted-17/04/2024, Published-30/04/2024.
Abstract:
“To ignore photojournalism is to ignore history.”
-Howard Chapnick
Photographs articulate history. In the last few decades, photographs have become a numero
uno means of conveying news. Capturing moments, photographs become visual testimonies of the
bygone events, that can be re-looked and re-engaged with from time to time. Photographs are
physical entities that furnish proofs of the past events. This paper studies two important
photographs from Raghu Rai’s book ‘A Tale of Two: An Outgoing and An Incoming Prime
Minister’, published in 2014. The book contains a collection of Rai’s works covering the 16th Lok
Sabha elections. By using the theories of visual culture, the paper analyses the two photographs
for a nuanced understanding of their technical, sociocultural and emotional aspects. Furthermore,
these photographs, as visual documents of the elections, are studied for the effect they create by
using the insights provided by affect theories. The paper highlights the importance of studying
photographs to gain a nuanced understanding and profound perspective into historical events.
Keywords: Photojournalism, 16th Lok Sabha Elections, Visual Culture, Raghu Rai,
Photography, History, Politics and Photography, History and Photography.
History, especially since the invention of the camera, shares a close and unbreakable
relationship with photography. Photographs are non-neutral entities and can be used to create
politically motivated narratives and discourses. According to Gillian Rose, photographs culturally
construct our vision in various ways i.e. they create what she terms as ‘visuality’. Photographs
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Decoding History Through Images: An Analysis of Select Photographs from Raghu Rai’s ‘A Tale of Two: An
Outgoing and An Incoming Prime Minister’
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https://doi.org/10.5281/zenodo.10448030
collectively, over periods of time, create “regimes of truth” (Foucault), which Sofie Scheerlinck
explains as “beliefs a society comes to value as true due to their socio-political and economic
construction and perpetuation through institutions socially endowed with power, e.g. those
involved in news production (16)”.
Photographs can be and have been used politically in the past as means of imposing the
dominant viewpoint through the narratives that they create. The historical rhetoric that the
photographs create might be pregnant with an underlining political dimension, suggestive of what
the powerful wanted to depict to the masses. In the words of David Bate:
In this respect, it is clear that in the long history of human civilization, the ability to inscribe
events, descriptions and traces is a site of social power: a means for some social groups to
impose their will over others . . . A history that now involves photography in historical
struggles, through their very accumulation in archives and in the computer, database is a
means by which power is manifest. (248)
Eduardo Cadava points out in Words of Light: Theses on the Photography of History, “For
Benjamin, history happens when something becomes present in passing away, when something
lives in its death . . . History happens with photography” (128). Since photographs frame moments
in time in particular ways, the dominant ideologies, can then be perpetuated through them by
reprogramming human memories. “As sites of memory, photographic images (whether digital or
analogue) offer not a view on history but, as mnemic devices, are perceptual phenomena upon
which a historical representation may be constructed. Social memory is interfered with by
photography precisely because of its affective and subjective status” (Bate 255-56).
Raghu Rai is one of India’s leading photographers. He “has documented and frozen
innumerable significant moments and faces, and has been adored as the country’s most influential
photojournalist” (Sagar 1). Raghu Rai learnt photography from his brother S. Paul, a renowned
photographer of his time. Raghu Rai became a photographer at the age of 23 and continues to work
till date when he is 80 years old. Rai has worked with The Statesman (as its Chief Photographer),
with India Today (as the Director of Photography) and Magnum (as a Photojournalist). In the words
of Dawra, at India Today, “for over a decade, he delighted his editors with trailblazing picture
essays that brilliantly captured the political, social, and cultural conscience of India” (3-4). His
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work has been published in the world’s most prestigious newspapers and magazines such as The
New York Times, Life, New Yorker, The Independent, GEO etc. He has published more than 30
books which include titles such as A Day in the life of Indira Gandhi (1974), Faith and
Compassion: The Life and Work or Mother Teresa (1996), Exposure: Portrait Of A Corporate
Crime (2004), Mother Teresa: A Life of Dedication (2005), Raghu Rai’s India: Reflections in
Colour (2008), Bangladesh: The Price of Freedom (2013) and The Tale of Two: An Outgoing and
an Incoming Prime Minister (2014).
Rai has won many awards and accolades during his career spanning over 50 years. Some
of the most prestigious awards won by him include the Padmashree in 1972, Photographer of the
Year in 1992 by USA, Officier des Arts et des Lettres by French government and Lifetime
Achievement Award by Information and Broadcasting Ministry (I&B), India. In the words of
Lakhani, “For the past 50 years, Raghu Rai has captured the entire gamut of life in India: from
politics to industrial tragedies, from spiritual leaders to renowned musicians, artists and
filmmakers, etc. The Magnum photographer shows no signs of slowing down” (1-2).
After more than two decades of taking photographs of the Gandhi family and their political
movements, Rai entered the political territory again in 2014 before the central government
elections. In the same year, a collection of his works covering the 16th Lok Sabha elections
emerged in the form of a book titled The Tale of Two: An Outgoing and an Incoming Prime
Minister. In this book, Rai has captured two prominent leaders, one the outgoing Prime Minister
Dr Manmohan Singh and the other the incoming Prime Minister Mr Narendra Modi. In an
interview with Somak Ghoshal, Rai states his reason for covering the elections in these words, “I
had lost interest in photographing politicians after Indira Gandhi’s death. Very few leaders were
as strong as her, and also, the circumstances of the work changed remarkably over the years” (3).
Damini Ralleigh, a correspondent with The Indian Express quotes Rai on his decision to
photographically record the elections, “The perception of the Congress was that they are non-
performers . . . While Manmohan was considered a good man, he was also looked upon as someone
who had made no difference to the party or the country. On the other hand, Modi brought with him
all that drama. I just couldn’t stay away” (3-4).
The book is divided into two sections – the first part shows pictures from the Congress
Working Committee and the second contains photos from the Bharatiya Janata Party National
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Council meeting. “Rai uses a time-bound frame to order his images and build a narrative of irony
and pathos, signifying the isolation of the ‘accidental prime minister’ in sharp relief to the ebullient
force that defines Modi”, writes Vijayakrishnan (4). The contrast between the personalities of
Manmohan Singh and Narendra Modi shown by the photographs in this book shed light on the
political scenario in 2014. The front cover of the book reads, “The one who did not speak a word.
His silence was deafening and the other who spoke much and it was deafening! Our great Mahatma
would have said ‘He spoke enough for both of us’. But perhaps the nation was longing to hear
something” (R. Rai, “A Tale of Two”). The photograph from the book, which is first under study
here, was taken by Rai on January 17, 2014, during an All India Congress Committee (AICC)
session that was being held at Talkatora stadium in Delhi, where he spent five hours photographing
(Press Trust of India, “Narendra Modi and Manmohan Singh through Raghu Rai’s lens” 2).
Rai, Raghu. “January 17, 2014, 11:24 A.M.” Scroll.in, 26 June 2014,
scroll.in/roving/667810/raghu-rai-captures-modi-in-victory-manmohan-in-defeat
During the session, Rai observed the whole scene with an acute eye and it felt strange to
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him that when Manmohan Singh entered the stage, nobody spoke to him or got up to greet him.
From his experience, Rai believed that since the Prime Minister is always the leader, he or she
would be given due attention. He tells Bawa, “I was there for five long hours. He did not speak to
anybody. No one spoke with him. He was a lonely, tortured man. As if he did not exist, leave alone
being the prime minister of a country. It was shameful and shocking” (7). Looking at the
photograph one can see how Manmohan Singh is sitting with a blank expression on his face and
humility in his posture. This is in stark contrast to the photographs that Rai took of Indira Gandhi
in the 1960s-1980s or the ones he took of Prime Ministerial candidate Narendra Modi, even before
he assumed office. After the session, when Rai perused the photographs that he had captured, he
said he was pained by what he saw and wrote in his book that, on seeing the pictures, he’d asked
himself, “Who has done this to him [Manmohan Singh] and why have they done it to him or has
he done it to himself?”
When Congress led United Progressive Alliance (UPA) came to power in 2004, Manmohan
Singh became the Prime Minister of India and was re-elected after a five years term. As per the
photograph, the man who served the country for a decade as the Prime Minister seems to have
been reduced to a pitiable condition. In Rai’s words, “Earlier on I have photographed and
experienced in various political sessions of leading parties, relationships, manipulations,
sycophancy and power play. But the prime minister of the day used to be the focus of attention and
interest and everyone in the party looked up to him for an interaction or even a smile”, which was
utterly missing in case of Manmohan Singh who continued to bear an expression of gloom
throughout the meeting. Even when he entered the stage, he walked behind Sonia Gandhi and sat
far from her and Rahul Gandhi. The only time he gave a reluctant smile was when the three of
them were garlanded together (Press trust of India, “Narendra Modi and Manmohan Singh through
Raghu Rai’s lens” 2).
Being one of the most learned and scholarly Prime Ministers India has ever had, Singh was
held in high regard by many prominent leaders, diplomats and writers including Henry Kissinger
and Khushwant Singh, who famously wrote in his 2010 co-authored with Humra Quraishi book
Absolute Khushwant: The Low-down on Life, Death, and Most Things In-between, “When people
talk of integrity, I say the best example is the man who occupies the country’s highest office” (71).
He was widely lauded for the development India made during his first term as the Prime Minister
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when he launched robust schemes such as liberalization of economy to ensure the country’s
economic growth. Apart from this, during his tenure, the government started the ‘National Rural
Health Mission’, strengthened anti-terror laws, passed ‘Right to Information’ act and attempted to
increase employment of especially people from rural areas under ‘National Rural Employment
Guarantee Act (NREGA)’, 2005.
However, during his second term as the Prime Minister, things became different. Sanjaya
Baru, a media advisor to him during his first term, revealed in his book titled The Accidental Prime
Minister: The Making and Unmaking of Manmohan Singh that there ended up being “two centres
of power” in the UPA government’s second term, i.e. the party President Sonia Gandhi seized
power for herself, to whose authority Manmohan Singh ultimately resigned. Singh has been
criticized for his silence when the government came under trouble for several scams that corrupt
leaders in the party had been committing. In the photograph shot by Rai, Singh sits with a desolate
expression and this “stoic grim expression” on his face, writes Vijayakrishnan, “is the most
arresting, affective bit of the book and the central seed of this project” (5). Throughout the meeting
when Rai was taking pictures of Singh, he said there was same expression on Singh’s face, “as if
he was living a nightmare” (R. Rai, Press trust of India, “Narendra Modi and Manmohan Singh
through Raghu Rai’s lens” 2). He further adds, “Those few hours that I was there at the Congress
session, nobody came to discuss or share anything with him as if he did not matter anymore. He
looked isolated, ignored and deserted” (2).
Don Slater writes in his work Domestic photography and Digital Culture, “We construct
ourselves for the image and through the image” (134). Anwandter adds that “Our relationship to
our photographic image becomes a reflection of consumerist ideology, whereby we turn to
commodities in structuring our identity . . . Because we live in a hyper-visual culture, we are
continually aware of how we are presenting ourselves” (8). However, if we refer to the photograph
under study, then Manmohan Singh seems to be unconcerned about the image he is projecting to
the outer world. As a person, he is decent, graceful and without pretence; his silence throughout
the meeting is epitomized in this single monochromatic frame. One can observe in the background
the photographs of famous congress leaders of the past, such as Maulana Abul Kalam Azad,
Sarojini Naidu and Subhas Chandra Bose. This is one of the ways for political parties to gather
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support from people and to create favorable emotional response by using pathos associated with
the idolized leaders of the past. The way Rai has chosen to frame this photograph i.e. by including
the poster in the background further enhances the downheartedness of Singh. The famous faces in
the background are more animated than him and can be seem smiling. The frame is balanced on
both sides with equal negative space, and the focal point remains Manmohan Singh, whose
expression and posture carry the visual weight of the photograph. After covering this meeting, Rai
decided to go and cover the BJP’s National Council meeting at Ramlila Grounds on 19th January
2014.
When Rai reached at the site of BJP National Council meeting, just a day after the Congress
meeting, he observed that, “All senior leaders of BJP were presiding under larger-than-life
headshots of Narendra Modi which formed the backdrop of the main stage . . . Each of these
leaders got up to speak, Modi’s image looking out over their heads. It was clear that Modi was to
be the projection of the day” (Press Trust of India, “Narendra Modi and Manmohan Singh through
Raghu Rai’s lens” 3). Ghoshal quotes Rai, saying “There was every emotion and drama going on
at the BJP meeting” (3). Rai narrates the trail of events to Bawa, “I saw LK Advani, Arun Jaitley
and everyone else looking very serious. Modi entered and the crowd went ‘Modi, Modi, Modi’”
(7). He further recounts the highlight event of the meeting:
Then Modi stood up to speak. A newly programmed, well-designed, well-worded
campaign declamation came pouring out of him with proper emotional punctuations. The
audience listened spellbound. He projected himself as a comprehensive and well-aware
leader of a party that was missing ever since Vajpayee withdrew from active political life.
(R. Rai, “Narendra Modi and Manmohan Singh through Raghu Rai’s lens” 3)
Here is the photograph Rai took to present the contrast between the outgoing Prime
Minister and Modi:
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Rai, Raghu. “January 19, 2014.” Scroll.in, 26 June 2014, https://scroll.in/roving/667810/raghu-rai-
captures-modi-in-victory-manmohan-in-defeat
As seen in this photograph, back in 2014, before the elections, the BJP candidate for Prime
Ministership, Narendra Modi, spoke confidently with vehement gestures. Hailing from a humble
background, Narendra Modi, gradually moved his way up from being a member of RSS (Rashtriya
Swayamsevak Sangh) since 1971, to being deputed to BJP in 1985, to becoming an Organizing
secretary of BJP’s Gujarat unit in 1987 (Marino 48). Gradually, he became a very prominent and in
2001 became the Chief Minister of Gujarat, an office he held till 2014. The 2014 election campaigns
by BJP, undertaken mainly by Modi, used many tactics to mobilize masses and presented him as the
ideal candidate for prime ministership. His messages revolved around development of India, unity
amongst masses and good governance. In an article titled “Just the Right Image”, Shamni Pande quotes
political analyst Manisha Priyam to describe the effect of Modi’s campaigns, “The impact of this
relentless campaigning has been felt across different age groups, geographies and sections of society.
I have even heard young children, far removed from such debate, mentioning the word ‘NaMo’” (4).
There was a radical difference that Rai observed between Singh and Modi. Taken from a
vantage point, with a shallow depth of field, Rai’s composition foregrounds Modi’s powerful style of
speaking. In this frame, one can see a similarity or sync between the BJP symbol, the lotus and the
gesture made by Modi’s hands. While the previous photograph had other faces in the background,
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Modi’s photograph is full of himself. On being questioned about his inclinations towards both the
parties and their prime candidates, Rai told Ghoshal that, “My loyalty is not to one party or a politician
but to the spirit of the moment” (1). In an interview with Khushboo Joshi, Rai once said that a “Perfect
photograph is the one that captures the real feelings and strengths of a particular situation” (3). This
statement is true in the context of the present photograph. According to Vijayakrishnan, there is a
“certain candidness” evoked by Modi’s photograph that was “taken in moments of ‘being’ rather than
‘posing’” (4). According to the insights provided by Affect Theories, politics is “not simply as a set of
ideas that are neutrally and objectively evaluated, but as a performance. And like all performances,
power is a dynamic between actors and audience . . . Whereas rhetorical analysis asks how affects are
being mobilized to achieve certain political objectives, affect theorists argue that politics is being done
in order to achieve certain affects” (Schaefer 2). Just as Rai is an expert in the field of photography, as
he has proven it multiple times, Modi is an expert in politics and knows how to achieve his ambitious
goals through rhetoric, especially through pathos.
When both the political portraits are examined side by side, they present “the differences in the
public image of, and party positions occupied by, Singh and Modi” and present a disparity between
Singh’s “silence” and Modi’s “effervescence” (Vijayakrishnan 4). In the words of Neha Dani, while
Singh looks like an “isolated man who looked resigned to his fate”, Modi comes across as someone
who speaks “to his supporters with confidence and purpose” (2). The photographs in the book make a
strong argument about the difference between the two leaders and present a sincere picture of political
competitors in India in 2014. According to the description of the book The Tale Of Two: An Outgoing
And An Incoming Prime Minister at Author’s Upfront, “Both are photographed amidst the cacophony
of their party meetings, but there is a silence at the centre. One is tinged by despair, the other by a sense
of overwhelming power” (1). Ghoshal has also commented on the contrasts shown in the book, in these
words, “Arranged one after the other in Rai’s new book, The Tale Of Two: An Outgoing And An
Incoming Prime Minister, these two sets of photographs present a study in contrasts—at once full of
irony and pathos. If the outgoing prime minister looks conspicuous for his lack of will, the one waiting
in the wings impresses with his will to triumph” (3). Back in 2014, there was indeed what many called
“the Modi wave” in the country, which led to a tremendous victory to BJP led National Democratic
Alliance. BJP and its allies won the elections with a high majority and Modi became the 14th Prime
Minister of India.
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Both the photographs evoke different kinds of emotions in the viewers. While Singh’s
photograph, largely through body language and expressions, evokes the emotions of pity, distress,
diffidence and dejection, Modi’s photograph arouses interest, excitement and hope. Rai himself
believed firmly in the medium he practices to record events and has stated more than once in his
interviews that “The purpose of photography is to capture the time we live in. History can be written
and re-written, but photo history [or visual history] cannot ever be re-written. It will remain etched in
the frame of time forever” (Dawra 1; Bawa 3). In his book A Tale of Two, Rai has chronicled the
election campaigns of the two largest competing parties by capturing the aura of their prime leaders
through his camera. Varma praises Rai in these words, “His pictures do speak more than a thousand
words and continue to dazzle people across the planet . . . His photos on a wide spectrum of social,
economic and political issues have won many awards and have been widely acclaimed the world over”
(1).
No other photojournalist has so thoroughly explored and represented India as Rai has. Rai’s
body of work is an embodiment of his sincerity and his passion towards photography. Always creative
and consistently trying to tell a powerful story, Rai captures the intensity of emotions as revealed by
nature, people and situations in their exceptional moments. His coverage of India’s landscape, its
people and its major political, social, cultural and tragic events has aesthetically presented the nation
to the domestic and outside world. He phrases it this way, “India lives in different centuries at the same
time, in the same place. My job is to reveal the human experience in trying to negotiate this tension”
(Dawra). For more than 50 years now, one of India’s “most devoted archivist”, Rai “has been elevating
the humdrum news photograph into an art form” (Bamzai). He is one the most passionate and devoted
photojournalists of India and describes his enthusiasm for his profession to a reporter from Time of
India in these words, “I go like a wild man and shoot so intensely that even breathing, I find, is a waste
of time” (1).
Rai’s photographs of Indian politicians Dr. Manmohan Singh and Mr. Narendra Modi mark a
relationship between politics and affect. It shows, to quote Schaefer that “The political is not just
occasionally interrupted by affect. It is affect” (2). The photographs show a complex set of emotions
influencing the viewer’s opinion about the political leaders and their choice in elections. Historical
photographs function as sites that can reveal various nuances and insights into the human past when
studied contextually. Researching historical photograph, along with their political and subjective intent,
by using the interpretive acumen offered by Visual Studies, can open up new dimensions of historical
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understanding. With our culture becoming increasingly visual, photojournalistic images will become
indispensable for studying, negotiating and re-negotiating history.
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