As visitors step into the tranquil ambience of Gallery Art Positive in New Delhi, they are immersed in the evocative world of ‘Selective Sympathy’, a compelling photographic exhibition on Kashmiri Pandits by Iranian photographer Sarah Jabbari.
Curated by Georgina Maddox, this showcase transcends mere visual storytelling, delving deep into the complex emotions and identities of the Kashmiri Pandit community — a group whose history is steeped in displacement and enduring resilience.
Sarah’s journey into the world of documentary photography began in the darkrooms of her high school in Tehran, where the magic of developing films ignited a passion that has since defined her life’s work.
“I found interest in the magic of developing films and printing photos in the darkroom,” she told Patriot in an interview. This early fascination evolved into a deep commitment to documenting human societies, a commitment that led her from the streets of Tehran to the heart of India.
Her move to New Delhi marked a pivotal chapter in her career, allowing her to explore the intricate cultural connections between Iran and India.
“I always loved India through my readings about the common Indo-Iranian ancestry,” Sarah said.
This shared heritage fuelled her interest in the Kashmiri Pandit community, whose story of displacement resonated deeply with her own understanding of exile and loss.
“I thought this story was worth telling as I found Pandits mirroring the story of Iran and Iranians,” she told Patriot.
Reflecting on her background, Sarah said, “We grow up in a restricted society, so we look at things with more depth. In Iran, every life experience is special, and you have a lot to tell as a storyteller.”
Her experiences in Iran shaped her perspective as a photographer, driving her to explore themes of identity, displacement, and cultural connections.
“An Iranian’s understanding of religious and political happenings in the world is very different from the rest of the world. The language of everything, especially art, becomes symbolic through the experience of restrictions,” she said.
“Our religion in Iran was Zoroastrianism before we gradually converted to Islam. So, I had an understanding of how Kashmiri Pandits feel,” she explained.
“The contemporary situation of Iran and the self-exile of millions of Iranians was another commonality. I felt even closer to them,” she added, underscoring the emotional resonance that drew her to this project.
The title ‘Selective Sympathy’ carries a powerful message that Sarah articulated during her interview. “The title itself came to my mind in 2015 after the Paris attack when many updated their profile picture stating ‘I am Paris’. A few weeks before there were deadly attacks in Kabul and Beirut. I thought of ‘Selective Sympathy’ there,” she recounted.
This concept took on a new meaning as she began her project on Kashmiri Pandits, observing how their pain was often dismissed or supported based on religious or political interests.
“It was a sympathy that was selective. There’s an irony in the title as I didn’t mean sympathy, nor a selective one, but just to talk about them as human beings without any political or religious gain or narration,” she said.
“The moment you side with a group due to your biased experience, you objectify your subject. There were Pandits questioning my motives: ‘But you’re a Muslim, why do you want to tell our story?’ And I replied, ‘Because you’re a human. Because you matter,” she shared with Patriot.
“I asked them: ‘Are you going to objectify yourself, dehumanise yourself, and say, I’m not just a human but only a human of a particular race or religion?’ Humanity and human experience is beyond race or religion.”
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The exhibition itself is a masterful blend of symbolism and narrative, with objects like artificial snow and the Chinar tree playing significant roles in her work.
“The Chinar tree is part of daily life of my subjects that I’ve clicked. The pictures of artificial snow are from my birthday that I celebrated during the project,” she says.
These elements, along with the portraits and landscapes she captured, serve to evoke the complex relationship the Kashmiri Pandits have with their homeland.
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Sarah’s creative process involves a deep connection with her subjects.
“Meeting my subjects, interviewing them, and giving them space to know me are ways to connect and take the story forward,” she said.
Despite facing significant challenges in gaining trust of the community, Sarah persevered, forming friendships that allowed her to tell their story authentically.
“I exhausted myself to gain the trust of some of them, and we became friends. I am happy that I didn’t give up,” she added.
The collaboration with curator Georgina Maddox has been instrumental in shaping the final presentation of her work.
“Georgina is very passionate about work, and we have a friendly relationship. Each time I was not well, I remembered her waiting for the show, so that pushed me further,” said Sarah.
Through ‘Selective Sympathy’, Sarah invites viewers to engage in a broader conversation about empathy and understanding, challenging societal and political narratives.
“I hope photographers break through stereotypes and cover the stories they feel are important with their own voice and do not allow stereotypes to limit them,” she said.
“If empathy is genuine, one won’t look at the political issues connected with the story.”
Sarah hopes her work will elevate the perception of the Kashmiri Pandit community, encouraging them to raise their voice through cultural activities.
“I hope this little attempt of mine becomes a door open to the community to look at their pain at an international level and a mutual human experience,” she added.
Looking at the future, the photographer remains committed to exploring themes of human experience and cultural connections.
“Since I’m going to begin an MA in visual anthropology soon, I will focus more on human issues in my work. For sure, Iran and anything related to it would be the main concern of my work,” she revealed.
