Mahan is, the oldest Sal wood forest in Asia, Is last remaining patch of very dense, unfragmented forest in Singrauli coalfield region andanimportantsource oflivelihood for80000 indigenous people. Over the past 30 years, large tracts offorest lands have been allotted to mega power projects resulting in a complete transformation of the regionfrom a well forested remote tribal areato a busy coal mining and thermal power centre.In 2011,Mahan Coal Block is allocated for mining ,Over the three years indigenouspeople of Mahan have been locked in a struggle with the stateto regain their right over their land, as their social, cultures life centred on the forest will be adversely affected by this surge in consumption. The tribal's are trying to hold their ground against theinevitableand yet are preparing for the exodus.The struggle in Mahan is important to me because this is not just a fight for basic rights but also struggle to assert one's identity and an attempt to gain respect and acknowledgement for it, to preservea forest that defines who they are and where they belong.
I first visited Mahan in 2013 and began to learn about experiences of the tribal Communities. I extensively interacted with locals andgot to know about the deep seated corruption, exploitation and insidious administrative policies that threaten the livelihood of people in at least 54 villages surrounding the forest. There were many accounts of fraudulent documentation, of villagers whose signatures were forged in Gram Sabha with active connivance of local officials and acquisition of land by local elite through questionable methods. The collusion between wealthy local leaders, local administration and private companies left the poor villagers helpless.
During these two years thePortraits, I made in Mahan, document the dignity of a way of life and celebrate the legacy of individual, who sustains that environment and culture. By capturing these Individuals members at this critical time when tribal communities of Mahan are facing significant social and economic changes, these portraits, chronicle the changing face of these communities. Thisexperience is not just about activism or documentation but it is an exploration of newinner strength.
Vinit Gupta
