Sunil Janah: A Tribute

Manjari Sihare of Saffronart speaks with Ram Rahman about noted photojournalist, Sunil Janah

New York: Renowned Indian photojournalist, Sunil Janah (born in 1918 in Assam) died due to natural causes at his home in Berkeley, California in June this year. Janah, who worked in India in the 1940s, is best known for his wide coverage of the infamous Bengal famine of 1942. A member of the Communist Party of India, Janah had the fortune of sharing an amicable relationship with political stalwarts such as Mahatma Gandhi, Jawaharlal Nehru and M.A. Jinnah. Janah’s passing was announced to the art fraternity by his close friend and associate, Ram Rahman, via an email (copied below). Rahman, an eminent photographer himself, and the sole authority on Janah’s work, mounted a large retrospective of his work in New York in 1998 in an informal but extremely well received exhibition of 600 vintage prints. Click here for a note on this exhibition by Rahman, and his proposal for a monograph on Janah is still to be published.

I would like to thank Ram Rahman for sharing this email with us, as well as his book proposal.

Sunil Janah, at his exhibition in New York, 1998.
Photo © Ram Rahman (not to be used without full caption and credit)

Sunil Janah’s Obituary by Ram Rahman

It is with great sadness that we have to inform you that Sunil Janah, the great photographer, passed away peacefully in his home in Berkeley, California on June 21st. His wife, Shobha, passed away only a few weeks before. He is survived by his son Arjun Janah of Brooklyn, New York.

Janah was born in Assam in 1918, but grew up in Calcutta. He was educated at St. Xavier’s and Presidency colleges in Calcutta. Like so many others at the time, he had joined the student federation inspired by left wing politics. When the ban on the Communist party was lifted by the British as they supported the allied front against the fascist forces of Hitler and Mussolini, he caught the eye of the visionary General Secretary of the Communist Party, PC Joshi. Janah was a keen amateur photographer, Joshi recognised his talent and overnight persuaded him to abandon his English studies and travel with him and the artist Chittoprasad to photograph the famine raging across Bengal in 1943. The photographs by Janah published in the party journal People’s War brought him instant fame as they revealed to the shocked nation the horror of the famine. He moved with Chittoprasad to live in the party commune in Bombay, where both were intimately associated with the Progressive Writers Association (PWA) and IPTA, The Indian People’s Theatre Association. Janah had become the most famous photographer in India by then and was sought out by Life magazine’s Margaret Bourke White, with whom he formed a unique friendship and working relationship in 1945.

Unlike other photographers, Janah was an active political worker whose political work happened to be photography. Because of his talent and reputation, PC Joshi happily acceded to requests from the Congress party, The Muslim League and The National Conference in Kashmir to allow him to photograph their meetings and conventions. As an insider with a political ideology, Janah’s photographs stood out for their passionate engagement, idealism and an uncompromising artistic vision. He became intimate not just with all the legendary cultural figures associated with the left in the 1940’s, but also the entire spectrum of the political leadership. His portraits of these legends stand out for their intimate and personal power. Most were published in the Party journal People’s Age.

After the political split in the Communist Party when PC Joshi was sidelined in 1947, Janah moved back to Calcutta and opened a studio. He was a founding member along with Satyajit Ray, Chidananda Das Gupta and Hari Das Gupta of the Calcutta Film Society. Satyajit Ray designed his first book of photographs, The Second Creature (Signet Press) in 1949. In Calcutta he started photographing dance and dancers making iconic pictures of Shanta Rao, Ragini Devi, Indrani Rahman and many others. He also made an extensive document on commercial assignment of the new steel mills, coal mines, power plants, railway engine factories and dams being built in Bengal, Bihar and Orissa – the great temples of the new India coming up in the 1950’s. His later documentation across India of the tribal communities, done with the anthropologist Verrier Elvin, was another landmark.

In my view, his work is the defining epic document of the last decade of the freedom struggle and the first decade of free India – the ‘Nehruvian’ years. Janah remained a committed communist till his last breadth, though not a party member. Sunil Janah had married Shobha, a medical doctor, and moved to Delhi in the sixties when she got a job here. Never very good at commerce, Janah became very bitter at his work being extensively used without payment or credit, and fulminated particularly against Mulk Raj Anand who used his pictures in Marg – pictures which educated an entire generation about India’s temple architecture and sculpture. This bitterness made him a recluse in later life and led to the huge body of work being hidden from public view for decades.

I was able to mount a huge retrospective of his work in New York in 1998 in an informal exhibition of 600 vintage prints, which created a sensation. A full- page review in the New York Times brought scores of people to the gallery, many older Indians left sobbing in tears, so moved by the history they saw. Sadly, I was unable to ever raise funds for a book and failed for years to persuade the government of India to acquire the treasure of his archive, which sits in his basement in Berkeley. The government of India awarded Janah a Padma Shree in January 2012, mistakenly awarding him the same honour which Indira Gandhi had given him in 1974. Embarrassed, the government upgraded it to a Padma Bhushan. It had not yet been presented to Janah by the Consul General in San Fransisco at the time of his death.

Sahmat pays tribute to Sunil Janah with whom we had an intimate relationship. Sahmat hosted a major lecture on his work by Ram Rahman at The Nehru Memorial Museum at Teen Murti two years ago. Janah’s photos of Gandhi featured in Sahmat’s posters during their commemoration of Gandhi and his photographs, books and pictures in People’s War were recently exhibited at Teen Murti in Sahmat’s symposium on the Progressive Culture Legacy of the PWA and IPTA in Teen Murti. Ram also presented his lecture on Janah at the Town Hall in Ernakulum, Kerala at a huge public meeting.

Sahmat will host a memorial meeting shortly.

Ram Rahman

Diver-Cities II

Elisabetta Marabotto of Saffronart shares a note on the forthcoming exhibition at Latitude 28 in New Delhi

Arun Kumar HG, Untitled, 2012

Arun Kumar HG, Untitled, 2012. Image Credit:

London: Starting from August 27, Latitude 28 presents Diver-Cities II. This exhibition is a celebration of cultural and urban diversities within India.

Baiju Parthan, End of Season, 2012

Baiju Parthan, End of Season, 2012. Image Credit:

Eleven contemporary artists from different parts of India have been tasked to reflect on the idea of ‘city’ and its related concepts such as identity and globalization. Their works have then been brought together in one single exhibition to present their different interpretations and contemporary art practices.

Sarnath Banerjee, Lalbazaar Detective Department: Lower Pile

Sarnath Banerjee, Lalbazaar Detective Department: Lower Pile. Image Credit:

Among the artists feature Baiju Parthan, Sarnath Banerjee, Gigi Scaria, Arun Kumar HG, Praneet Soi and Sudipta Das.

Gigi Scaria, Icarus, Yet Another Attempt, 2013

Gigi Scaria, Icarus, Yet Another Attempt, 2013. Image Credit:

Sunil Khilnani in The Idea of India noted: ‘India’s cities are hinges between its vast population spread across the countryside and the hectic tides of global economy, with its ruthlessly shifting tastes and its ceaseless murmur of the pleasures and hazards of modernity. This three-cornered relationship decisively moulds India’s future economic, cultural and political possibilities. The demographic drift across the world is unstoppably towards the urban.’ ‘Modern India’s political and economic experiences have coincided most dramatically in its cities – symbols of the uneven, hectic and contradictory character of the nation’s modem life. From the ancient sacred space of Benares to the decaying colonial pomp of Calcutta, from the high rationalism of Chandigarh to the software utopia of Bangalore, from Bombay’s uneasy blend of parochial politics and cosmopolitan to the thrusting new cities of the north. The evident urban disjuncture’s have enlivened distinct political sentiments. The real and imagined experience of the city has individually and together reconstituted both the nature and the range of the selves, the ‘identities’ that Indians can call their own.’

Praneet Soi, The Dream, 2008

Praneet Soi, The Dream, 2008. Image Credit:

For more information on the exhibition click here.

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