Tag Archives: Madanpur Khadar JJ Colony

#AanaJaana [#ComingGoing] Exhibition Story Map

Curating gendered digital lives in Delhi’s urban peripheries

Combining approaches from urban geography, gender studies, software ethnography and Geographic Information Systems (GIS), this ArcGIS mapping initiative is a unique interdisciplinary international collaboration between King’s College London and ‘Gendering the Smart City’ #GSCProject project network societal partners Safetipin and Jagori in India.

The Story Map contains data that has been collected in collaboration with our participants, the ‘Khadar Ki Ladkiyan [Khadar Girls]’ living in Madanpur Khadar JJ Colony (one of Delhi’s many slum resettlement colonies on the urban peripheries), and follows on from our ‘Art in Public Places – #AanaJaana [#ComingGoing]: Curating Women’s Digital Stories of the City‘ exhibition funded by the Arts and Humanities Research Council (AHRC), UK and hosted in partnership with our societal partners Safetipin and Jagori, institutional partners King’s College London and the School of Planning and Architecture, New Delhi and the One Billion Rising campaign movement. The exhibition was part of the ‘Art in Public Places’ initiative led by India Habitat Centre and Delhi Metro Rail Corporation (DMRC) and was shown from 1st to 31st January 2019 at Mandi House metro station, New Delhi.

The Story Map presents different perspectives of a digital age by young women living in Delhi’s urban peripheries – resettlement colonies, urban villages and border towns. Using visualisations of selected data – participatory maps, photographs (click here for Rohit’s photoessay blog on his photos included in the exhibition), videos and WhatsApp diaries maintained by these women over a period of 6 months, #AanaJaana curates women’s everyday stories of comings and goings in the city. It explores how women on the margins view, understand, and ultimately navigate the city through information and communication technologies (ICT) accessed from their mobile phones. It provokes us to think what mobility means in a context where social media provides real time information on the dangers and freedoms located in the metro, bus, auto rickshaw, and walkways as well as the opportunity to express this in creative and poignant ways. It also shows us how women living on the urban peripheries negotiate the ‘freedoms’ of moving (aana) in online space with the ‘dangers’ of going out (jaana) into the city, or the constraints of entering (aana) online space with the constant control over their bodies even when they leave (jaana) home for the city.


⬇ PLEASE CLICK ON THE IMAGE BELOW TO EXPLORE OUR STORY MAP.

THIS STORY MAP WAS CREATED BY VISUAL VOICE.

Screen Shot 2019-02-12 at 01.21.00.png

Photo Essay on Madanpur Khadar JJ Colony

Please see below a Photo Essay by photographer Rohit Madan, including a 360 degree view of a busy crossroad in Madanpur Khadar JJ Colony, New Delhi, India, one of the areas our ‘Gendering the Smart City’ project is focusing on.

The photo essay forms part of our #GSCProject #AanaJaana exhibition taking place in Mandi House metro station, New Delhi from 1 to 31 January 2019. You can read more about the exhibition here and explore and share our exhibition event Facebook page here

Filming ‘Khadar Ki Ladkiyan’ [Khadar Girls]

Nandan Latwal, Film Director and Editor

I was lucky enough to be a part of this research network and feel strongly about the overarching objective of this research project. My association with the ‘Gendering the Smart City’ project was quite serendipitous and has been rewarding in many ways. Without going into too much detail, I would like to share a few challenges that we had to face during the making of this video with the Khadar girls. 

image-9 copy

Poster created by: Ayona Datta
  • Availability – Although the Khadar girls might appear homogenous, yet the group was quite diverse in terms of identity. They ranged from unmarried, divorced, to single mothers; most of them were working outside their homes and some pursuing education alongside this. Amidst all the personal, professional and educational pursuits, it was tough for them to take time out for participation in the project and particularly for the film. The working women often came to the filming sessions even if they have to make excuses at work. Those who have to take care of their family were continually moving between the filming sites and their homes. 

  • Onlooker’s reactions – It is clear from the music video that it is of an open genre where the Khadar girls speak back to the city about their day-to-day challenges particularly around violence in public spaces. Most of this music video have been shot in the streets, main road and open market – places that are frequented by men in general. The Khadar girls had to withstand this male gaze in public places, often also from their neighbours or relative. Even though initially they were uncomfortable with this gaze, they stood firmly through this. 

 

Image Credits: Ayona Datta
  • Infrastructural challenges – In the #AanaJaana StoryMap Dr. Datta has shown how in recent years urban transformation has taken places in Madanpur Khadar JJ Colony. Khadar is on the outskirts of Delhi NCR with least or minimal infrastructural development. The roads were narrow with no public transport and modern monuments of garbage everywhere, with cows scavenging on them. On the last day of our shoot there were no electricity all through the day, no streetlight, and no place to charge our equipments. 

  • Breaking the ice with Khadar girls – My association with this project is nothing but serendipity and this serendipity happened on the night before the day of the shoot. So when we started filming, although Dr. Datta and her team had been working closely with the Khadar girls but my crew and I were strangers to them. To be able to achieve a music video of a good quality we felt that it was critical for us to know them better. We spent a half a day just to get familiarise with each others through various participatory video training sessions. 

 

Image Credits: Ayona Datta
  • Facing the camera – With the advent of smart phone and cameras at both in the back and at the rear people have become adept at photography and taking selfies, but a camera with a cinematographer on the other end is still threatening to a lot of people. I have seen people serving at high posts in government and corporates stammering in front of a camera. Shooting with the Khadar girls was also not easy. We had to take numerous shoots for a single 5 second line and at time with a zero percent success rate. The first day was exceptionally challenging with little progress, but we began to have more of a rapport on the second day. Dr Datta also did a few shoots on the third day and practiced some of the shots with the girls. The last few days of shooting went smoothly with the last day going exceptionally easily as reflected in the video ending.

  • My strict task-master attitude – My personal attribute might have been a challenge for both the Khadar girls and me as director and producer in charge. As a director of the process I had to be assertive at various points and with each repeat shot I was also losing patience and failing to keep my calm. But at the end of the process the Khadar girls and I had come much closer than falling apart. We have ended the filming with a lot of mutual respect and camaraderie. I hope we can stay in touch and develop more films in the future.

Please click here to see the ‘Khadar Ki Ladkiyan’ music video.