Recommended reading:
The Dhivehi Art Drop vol. 1
Interesting and inspiring content by Dhivehi / Maldivian artists.
Interesting and inspiring content by Dhivehi / Maldivian artists.
Few of my favorite clicks from early morning stroll around Villingili. pic.twitter.com/zdRYxtx70b
— zayaahmed (@zayana_ahmed) July 4, 2019
Sharing a few illustrated portraits. pic.twitter.com/GIiQHD4VEw
— zayaahmed (@zayana_ahmed) July 2, 2019
So guys. My song Heavens and Sins just made it to the semi-finals in the International Unsigned Only Song Competition, chosen out of around 6000 songs submitted worldwide. Uhh... so ya I'm happy af pic.twitter.com/dY33hlKdcV
— Karam (@karamibrahimali) July 9, 2019
Three Classic Maldivian Music Videos That Totally Don't Normalise Street Harassment
Street harassment is a huge issue in the Maldives. Many women share stories about how they get harassed almost every single day while just walking to work. This has led to many social movements, such as #Nufoshey (don't harass).
The Maldivian entertainment industry has historically led the charge against harassment, responding to this atmosphere of fear by creating some groundbreaking music videos that both shocked and enlightened, dramatically reducing the incidence of street harassment in their wake. Here are three shining examples.
Street harassment is a huge issue in the Maldives. Many women share stories about how they get harassed almost every single day while just walking to work. This has led to many social movements, such as #Nufoshey (don't harass).
Street Harassment impacts the lives of harassed persons & cause various disruptions to their daily routine. Majority of the respondents took a different route to avoid harassment (76.6%), avoided going out alone (66.8%), or avoided areas where they felt unsafe (67.3%) #nufoshey pic.twitter.com/ivQOctFPRf
— Nufoshey (@nufoshey) February 11, 2018
The Maldivian entertainment industry has historically led the charge against harassment, responding to this atmosphere of fear by creating some groundbreaking music videos that both shocked and enlightened, dramatically reducing the incidence of street harassment in their wake. Here are three shining examples. This was initially meant to be a list of ten but my poor brain can only handle so much.
1. Farivefa Fonivefa (Dolled up and prideful)
This timeless classic of Maldivian media stars Reeko Moosa and Mariyam Nisha. The cheery chorus goes "Farifeva fonivefa dhaathee govaa hivvey, ekeega hingaa hivvey" (I want to call out to you as you pass by all dolled up and prideful, I want to walk with you), "Nuruhifa hure' mi dhimaa thibalaalee hey? Varrah aillaa hivvey" (Did you glance in my direction disapprovingly? I really want to touch you).
Reeko plays a pilot who takes work place harassment very seriously.
So seriously that he works multiple jobs just to keep up his daily quota.
Reeko demonstrates how people used to slide into DMs before twitter.
Observe how the alpha male clings to his target like a great cologne.
I wonder how Nisha keeps recognising this master of disguise. Maybe its the hair.
Reeko finally corners his prey on a dhoni. As they head off into the blue yonder, he can rest easy knowing that for her the only escape would be to jump overboard.
2. Jaaney Dhoove' Jaan
The chorus of this gem is pretty hard to translate. It goes something like "jaaney dhoove' jaan, heeleemaa vaa gurubaan", which roughly translates to something like "I might loose my soul, a sacrifice/devotion (for thee) when you smile". The reason for this might be because the song, like most Dhivehi songs pumped out by the industry, is a "copy song" where Dhivehi lyrics are made to fit into an existing song, which in this case is the classic "Jaanu meri jaan". Even the video tries to copy the plot of the original. Just think of this as the dollar store version made by the high class yokels of the Indian Ocean.
The story begins with the wholesome premise of women running away from men.
In an interview with Variety, esteemed director Christopher Nolan said that this scene was the inspiration for Dunkirk (2017).
Who is this guy? Why is he in this video? We may never know. Perhaps there is a creepy old background perv quota that the industry has to maintain. Political correctness gone mad amirite.
Meanwhile, the battle continues along the shoreline.
As hostilities rage on into the night, a kind of Stockholm syndrome appears to set in.
Totally brainwashed by their relentless charm, the women now begin courting the men; all while Pervatron spies lustfully from a nearby ship. The guys of course play it cool, as if they hadn't spent most of the day hurling these women around like rag dolls.
Alls well that ends well, as our heroes dance away into the night with their new partners.
3. Jaadhoogar (Magician/Sorcerer)
This time the whole crew is in on the action, frolicking along with our hero as he makes his dream girl wonder why she ever bothers leaving the house in the first place.
The chorus goes "Gasthugaa dhaanamey geydhoshun jaadhoogar" (The magician will purposely go by your house). Well at least this shit isn't happening by accident!
This video isn't all bad though. Observe one of our heroes as he saves a poor lady who wandered into the middle of the road, after her harassment addled brain made her think she was a motor vehicle.
You've gotta wonder what it would be like to watch one of these things being directed. "No! You don't look annoyed enough! Now again, with more venom!". Could this be the manifestation of some kind of fetish?
The safe word is "Zuleyhaa".
Our mage must have levelled up his charisma, because his love spell suddenly seems to start working. See guys, persistence does pay off!
The song ends with Mr. Big Wheels not getting lucky like the rest of his posse. Guess he should have harassed her just a little bit more.
Dhivehi Artists worth following on Instagram
This is a list of exceptional Maldivian / Dhivehi artists to follow on instagram. I've limited the list to artists with public accounts. Each artist chosen adds something unique to the landscape of Maldivian art. Some are professional artists, others are the kind of people who occasionally produce work that is so incredible that it makes you wish they were. I have tried to pick a piece that represents each ones style; although in the case of some artists this is more difficult than the others as they are so versatile. They are presented in no particular order.
This is a list of exceptional Maldivian / Dhivehi artists to follow on instagram. I've limited the list to artists with public accounts. Each artist chosen adds something unique to the landscape of Maldivian art. Some are professional artists, others are the kind of people who occasionally produce work that is so incredible that it makes you wish they were. I have tried to pick a piece that represents each ones style; although in the case of some artists this is more difficult than the others as they are so versatile. They are presented in no particular order.
Syd Sujuaan (@annihilatereality)
Mush (@monkeyseemonkeydoom)
Afazil (@afaziill)
Ramy (@ramyink)
Shaari (@shaari_)
Abloo Amir (@abllo)
ShimhaqMV (@shimhaq98)
Afu Hasan (@afumeeha)
ARAAKAA (@araakaa)
Ashwa Faheem (@avvamiles)
N.R (@n_r_achey)
Aznym Adam (@azuneemu)
Fazail Lutfi (@fazaillutfi)
Shareehan (@bulhaaa)
Amina Fathina (@amina.of.the.sea)
Funkographic (@funkographic)
Munshid (@dyingregime)
Iman Rasheed (@imanrshd)
Zara Aznil (@aznilphotography)
Nash'ath (@nasathm)
Navid Saeed (@navinsaeed)
Obofili (@obofili)
Nazaal Shiyam (@nazaaal)
Eman Shareef (@almawt666)
Hussain Sinan (@buggee)
Refty (@refty)
Hamza Hassan (@hammi)
twodeadfish (@twodeadfish)
Huzeimath Abdullah (@hoksla)
Afey (@afeyx)
Toxi_Crew (@toxi_crew)
Ajmal Shaheed (@ajmals)
Maiz (@maiz.i.am)
Shifaz Huthee (@sotti.maldives)
Bucky Hussain (@buckyhussain)
Vishal (@ekkayvishal)
Coffee & Type (@CoffeeandType)
Shifaan Thowfeequ (@cuynchips)
Sarah Haleem (@sarahhaleemphoto)
Razzan (@_razzan_)
Ibrahim Arafath (@iarafath)
Mohamed Shuraih (@mohamedshuraih)
Nattu Adnan (@reallynattu)
Moses (@gasmoofensaa)
Autonomotor (@autonomotor)
Maahy (@maahyart)
Mahin Fayaz (@mahinfayaz)
![The Dhivehi Film Industry - An analysis of Reeko Moosa's Dhanmalhi (1993) [PART ONE]](https://images.squarespace-cdn.com/content/v1/525ead10e4b03a9509e1cbf7/1466571370761-IWUROJZ892XOYKFTJ0VB/Dhanmalhi+cast.png)
The Greatest Maldivian Visual Artists of the 21st Century
This is a list of Maldivian artists whose work deserve more recognition. I consider all of these people to be living legends. The importance of their work will only be seen in the years to come.
I decided to create this list as there is a severe lack of introspection among the Maldivian art community. We are always looking outwards for inspiration when there is so much good work being put out amongst ourselves.
This is a list of Maldivian artists whose work deserve more recognition. I consider all of these people to be living legends. The importance of their work will only be seen in the years to come.
I decided to create this list as there is a severe lack of introspection among the Maldivian art community. We are always looking outwards for inspiration when there is so much good work being put out amongst ourselves. It is not complete, but I see that as a good thing. It just means that there is more yet to discover and more yet to come.
So, in no particular order, here are some of the greatest Maldivian Visual Artists of the 21st century.
STRIPED COCO
Things that grew Acrylic & oil pastels on wood panel
Nostalgia
Digital Illustration
A memoir
Hand drawn digital illustration.
Recreation of an early photographer Mr Ali Najeeb's work
RAMY INK
Ink & Sharpie on cardboard
Dwellers of the Midnight Sea
The Lunatic is on the Grass
KAREEN / MKA
Newborn (2012)
Linocut
Badhoora
Ink & Pen on Paper
PSYCHONAUTFROMATLANTIS / MOOSA MAMDHUH
Badi Edhuru
Digital
Part of the series "Asura's Isle"
Kaddevi
Digital
art of the series "Asura's Isle"
Vigani
Digital
art of the series "Asura's Isle"
Watercolours and Artiline
Ballpoint and Adobe Photoshop
Lily's Floral Crowns
Unipin and Adobe Photoshop
AFU / AFZAL SHAAFIU
Guardians
60x70 cm
Oil on Canvas
To the Sea
60x70 cm
Oil on Canvas
New series that the artist is working on
DIGITAL CHEMIST ARTS / SHIMHAQ98
Digital
Kamana
Digital
Whale Shark Galaxy
Digital
BULHAA
Watercolour
Childhood Memories
Indifferent
Sinking Society
ARAAKAA / MOHAMED IKRAM
EKKAY VISHAL
Vague History
15.5 x 23.5 inches
Acrylic on Canvas
(2013)
Song 1
Pen and Acrylic on Watercolour paper
Bappa (Dad)
Oil on Canvas Paper
IBRAHIM ARAFATH
Crazy
Music
NaART
A Jury of Wolves
MALDHA MOHAMED
Catharsis
Oil Painting
Seize
Oil Painting
The Vacant Particle
Oil Painting
HUZEIMATH ABDULLAH
Gadheemee Flag for Kings ( In red)
An era when we had slaves......
Poster colour on paper
Gadheemee Flag for Royal Ladies ( In red)
Poster colour on paper
Gadheemee Flag for "Huvadhoo Vaaruverin"
Huvadhoo Atoll Chief ( Black with red & white bands)
Poster colour on paper
TOXI_CREW
More from Dhivehi Art:
The Dhivehi Film Industry - An analysis of Reeko Moosa's Dhanmalhi (1993) [PART ONE]
Dhanmalhi is a 1993 made for television drama which was written and directed by Reeko Moosa, who also plays the lead character. This is part one of my analysis.
Dhanmalhi (noose) is a 1993 made for television drama which was written and directed by Reeko Moosa, who also plays the lead character.
The Cast and credits
Idhrees, the husband / protagonist - played by Reeko Moosa.
Fareedha (Faree), the wife / antagonist - played by Lilian.
Hafsa (Hafu), the co-worker / mistress - played by Suneetha.
Husseinfulhu be', the older friend / nosy neighbour / sexist bastard - played by Koyya Hassan Maniku.
Fareedha's mother, the matriarch - played by Aarifaa.
Solih, the boss - played by Shakir.
Zakariyya be' - Fareedha's father, who is not shown on screen, yet unlike her mother has a name.
Sato - also not seen onscreen, appears to be the friend / love interest whom Fareedha is always on the phone with.
Story:
Reeko Moosa
Director:
Reeko Moosa
Camera:
Mohamed Maniku
Mohamed Rasheed (Thuttey)
Editor:
Moosa Haleem
Lighting:
Moosa Haleem
Mohamed Maniku
Mohamed Rasheed
Technical help:
Nasrullah
Zahiru (Dhali)
Shujau
Musthafa
Hamidh
Locations
The film takes place over five locations; the home, the office, Husseinfulhu be's house, Hafsa's house and the city.
The Home (Idhrees and Fareedha's house)
Idhrees grabs some clothes from the cupboard while Fareedha watches television.
This is where the majority of the film takes place; it is where it begins and where it ends. It is mostly a stage for the conflict between Idhrees and Fareedha.
The Streets of Male' City
Idhrees cycles to work.
The city acts as a transitioning point; and Idhrees is often shown cycling between destinations. Despite not featuring as heavily as the other locations, several important plot points occur here.
The Office
Idhrees looks at the horizon as he rides the elevator to his high rise office.
The stage for several flirtatious scenes between Idhrees and Hafsa. Their boss, Solih, is only seen here. He seems to encourage the budding romance; probably as he seems to see Idhrees' tardiness as a result of some sort of failing by Fareedha.
Husseinfulhu be's House
Idhrees takes a seat in the dojo of enlightenment
This is Husseinfulhu be's temple, the place where he educates fools like Idhrees on how to be a man. In the one and only scene to occur here, Husseinfulhu be' lures Idhrees in with some tale about needing help with a letter, only to start berating him about how he is completely failing at controlling his woman.
Hafsa's House
Hafsa serves Idhrees some tea and short eats.
Idhrees and Hafsa continue their office romance here. Idhrees is at first reluctant to go but when he finally does, he has such a good time that they chat away until almost midnight.
Sponsored Message
Plot Summary - The story of Idhrees
To write a plot summary of this drama is to write the story of the progression that Idhrees' character undergoes. The only people who change in this film are Idhrees and his wife, Fareedha. The movie begins with Idhrees being late to work. Fareedha's character is introduced when he returns home. Apparently ill, she is seen lazing around watching television. She is shown as deceptive, lazy and manipulative. She even makes Idhrees sleep on the floor on a mattress. This is how her character is presented throughout the drama until her transformation at the end. Idhrees himself is shown as being timid and subservient; something which only begins to change when he is caught red handed trying to clean a cooking pot by his older friend Husseinfulhu be'.
Idhrees tries to explain it off by saying he was checking for leaks but Husseinfulhu be' sees right through it and invites Idhrees over his house where he begins to "educate" Idhrees about what marriage is "actually" supposed to be like. He explains how Fareedha is never going to change and how she was completely failing at her "duties" as a wife. He really stresses the point that any domestic chores are beneath the level of a man and sounds like he is embarrassed by the state of Idhrees' marriage. He even criticizes Fareedha's widowed mother for "going from house to house" every day instead of moving in with Idhrees and helping out with the housework. Husseinfulhu be's role throughout the film is both of patriarchal mentor and creepy stalker; and he is of often seen spying on Idhrees. There is one scene where Idhrees is forced to bring some refreshments by Fareedha when her mother visits (the horror!); at first he brings in the drinks without any glasses and Fareedha berates him about this, telling him to go back and get some; all the while Husseinfulhu be' is seen staring at them through their window, shaking his head disapprovingly. Despite this, the film never presents Husseinfulhu be' in a negative light. His nosiness and stalking is somehow justified because of his "wisdom" that he himself proclaims he came about by "no accident".
The movie contrasts Fareedha's gloominess and apparent laziness and failings as a wife with Hafsa; who is shown as doting, caring and cheerful. When she is flirting with Idhrees she often questions why he is with her at all; asking several times if the reason Idhrees puts up with Fareedha is because she is somehow incredibly beautiful.
Calling over the office intercom, Hafsa invites Idhrees over to her house after work, claiming that it's her birthday and at first Idhrees refuses. However he does go there the next day (complete with shot of Husseinfulhu be' spying on him as he travels there), where he is spoilt with tea, short eats and Hafsa's affections. In this setting Idhrees is positively beaming - a stark contrast to the gloominess his face betrays at home. Hafsa once again asks why Idhrees bothers with his marriage; and he explains that he is from a poor rural family and that he moved to the city when he was quite young, and says that even if he were to divorce Hafsa, he'd be the one who'd suffer as he'd be without a home. They chat away until almost midnight.
The late return of Idhrees angers Fareedha who accuses him of being up to no good. Idhrees denies it all. This cycle continues for a few scenes until Fareedha and her mother catch Idhrees travelling between houses. Husseinfulhu be' is also seen in the background spying on all of them. Why Husseinfulhu be' has so much time on his hands and how he knows exactly where all of this is going on is never explained. He is quite the creep.
When Idhrees once again returns late at night and Fareedha immediately begins to lay into him. They have a violent argument and as it is going on Husseinfulhu be' knocks on the door. Idhrees eventually leaves, telling Husseinfulhu be' that nothing happened. Husseinfulhu be' sticks behind and gives a stern talk to Fareedha about how she should be behaving as a wife and how she shouldn't be jumping to conclusions without proof; saying that Allah gave her the ability to think for a reason. He says that she isn't that beautiful and that she should be thankful that Idhrees doesn't go off with someone else. He says that it's an outrage that she makes Idhrees do domestic chores and that it's practically making him die of shame. All the while gentle music plays; giving the impression that he's giving some kind of enlightened talk. Once again why Husseinfulhu be' is lurking around their place in the dark of the night is not explained at all.
Idhrees returns and Fareedha begins to argue with him - but not for long! The transformed Idhrees slams her onto the bed and tells her how things are going to be from now on. He tells her he is tired of her crap and that she isn't so beautiful or caring that he has to be nice to her. He says that she is no longer going to make him do anything, and that from now on she has to do the cooking and housework and asks if she thinks him mad. Idhrees even literally says that he is the husband (firi-meehaa) and therefore the master (veri-meehaa). He says she is going to just have to live with him and that he won't even divorce her. All the while Fareedha lies meekly on the bed. He leaves for a brief moment, only to return to remove her from the bed and says that he is the one who'll sleep there now. The phone rings. It's Hafsa, who appears to confess to their illicit romance. Fareedha, who is now also transformed, says that she won't believe it at all and asks her to stop calling.
The next morning, a very dolled up Fareedha wakes Idhrees up and gets him a glass of water. She asks him to go shower and says that the days of him being to late are now over. She gives a dopey smile towards him and makes the bed, and then begins laying out his office clothes. Idhrees returns and she helps him with his clothes and straitens his tie. The film ends with a shot of him turning and winking at the camera, doting wife at his side. It's this wink that gives away the true intentions of the film makers - this isn't a sad tale of a broken and abusive marriage; this is the tale of a henpecked husband triumphantly putting his wife in her "place".
The film makers conception of a healthy marriage
So what are the outcomes of this "happy" ending? Fareedha, now knows that she is nothing special and that Idhrees can just dump her for someone else. She now has a clear threat of abandonment and infidelity as a motivator for being a "good" wife.
How the filmmakers define just what exactly a "good" wife is revealed through the dialogue of the various characters. First and foremost she must be beautiful. This is repeated by Idhrees, Hafsa and Husseinfulhu be' when they all question this quality in Fareedha. Hafsa asks Idhrees early on if Fareedha possesses some kind of exceptional beauty; with the implication being that this beauty would excuse her other perceived failings. These failings include not doing any house work, the even worse crime of making her husband have to do any housework, not bringing in tea and treats when guests visit, being generally lazy, not waking up Idhrees on time for work and helping him get ready, not ironing and washing his clothes, not cooking, and generally just being terrible at meeting the expectations that have been set for her as a house wife.
She is also presented as being deceptive; throughout the film she says she claims to be ill - something which Husseinfulhu be' says is an excuse she makes to not do any house work. She is shown spending her time watching shows, some with vulgar English language, and talking to some unknown party on the phone; who is hinted to be man named Sato. He is briefly mentioned in a conversation between Fareedha and her mother; her mother asks what Sato has been upto, and she says that he told her that some mutual friend had gotten married, and that he was wondering if that was in his future too. Fareedha is thus also presented as being unfaithful.
When it comes to Idhrees' infidelities, he is shown as being driven towards it by Fareedha's failings; rather than occurring because of any fault of his. There is not much doubt that their's was a truly loveless marriage. In this way it can be said that it is Hafsa who embodies the characteristics of the ideal woman; and thus the ideal wife. In many ways she is the opposite of Fareedha. She is always smiling, and seems quite enthusiastic about pleasing Idhrees.
Idhrees even tells Hafsa at one point that the only reason he hasn't gotten a divorce is because he would have nothing to gain if he went through with it; in particular the fact that he did not own the house. Idhrees reveals this with a yarn about being a poor boy from the islands who had moved to Male' at a young age with barely anything to his name. Despite his earnest appeal, the implication seems to be that he'd readily divorce Fareedha if he were to somehow get the property.
It is perhaps because of this that later, during his transformative scene, he stresses the fact that he is not going to divorce her. He was going to be her husband, and in his words her literal master, and there would be nothing she could do about it. Could it be that what he really desired was her property? In that same regard, could it be that Fareedha's "failings" were part of a plan to get Idhrees to divorce her; all a man has to do is utter the words and later get his claim verified by the court. A woman, on the other hand, has to deal with a whole lot more bureaucracy.
Whatever the case, divorce was now unnecessary, with Fareedha being transformed into a perfect wife virtually over night. The new and improved Fareedha is now unquestioningly loyal, and wakes up earlier than Idhrees to makes sure that he can get to work on time. She has his clothes at the ready, and even assures him that he won't be needing to use his alarm to wake up on time anymore.
This whole issue of Idhrees being late to work is a major plot point, with the movie beginning and ending with its introduction and resolution. So is this a movie about being late to work? Or is it a movie about the responsibilities of women?
Part two and conclusion soon.
Athireege' Thaana 0.1
It reads "hurihā insānun ves ufanvanī, daraja āi ḥaqqu takugai minivankamāi hamahamakan libigenvā ba-egge gotuga-eve" (All human beings are born free and equal in ranking and rights - Article 1 of the UDHR).
A font I have recently created which is an almost exact replica of "Athireege' Thaana" or "Vadaan Kashi" thaana.
You can download v. 0.1 from here.
At this point it's all manual and I haven't added in any "fili" yet. I am loving the look of this without fili so I might even just leave it like this. It follows the inputs of most standard thaana fonts. You are free to do whatever the hell you want with it.
1000 words on Maldivian Art - Nazaal Shiyam's photograph of a one way sign in Malé
Photograph by Nazaal Shiyam
Malé is a maze of one way streets and dark alleys. You can drive around it for days, for weeks, your whole life, and you can still feel like you're going somewhere. Perhaps this is why the national sport of my country is driving.
Driving? Why would driving be the national sport of a nation of islanders? Of a country whose borders are filled with water and not land? Why not swimming? Fishing perhaps? Nope. It's driving. Driving motorcycles specifically. And nowhere is the fanbase stronger than good old Malé City.
The stinking heap of concrete is less than 5sqkm in area, yet is home to almost, if not more, than 200,000 people. If you were wondering, no, there isn't a beach. Well there is a rather pathetic little inlet that is rather imaginatively called the artificial beach. And there is the tail section of the harbour does have a bunch of floating platforms hovering above the trash, used condoms and diesel. Oh and perhaps that dandy little 5m stretch near Raalhugandu that's full of broken bottles and garbage? How lush! How wonderful!
Nope, not much love for swimming here. And of course any fish you catch will have been lovingly fed off of the endless supply of sewage. It's the circle of life, and the people of Male' city are full of shit.
So what do you do? You save up and buy your self a fine motor vehicle that's what! Things will surely turn up now! Just look at how shiny it is! You will be the talk of the town! Everybody will be jealous of your sweet ass ride.
Now the cogs of our destiny are really in motion! Oh yeah baby! We'll drive around the city all night!
You'll rest your head against my back. You'll whisper soft kisses into my ears, hearts in a daze from the fumes of our forbidden love. Perhaps your arms will wrap themselves around me, deftly working their way through the edges of my shirt, your warm bare palms radiating love back into my chest.
You arch back and gasp as we hit that bump. Lots of memories about that bump! We almost crashed into a patrol van that New Years; all because of that goddamn bump. That morning, after we made love between the tetrapods, we kissed and watched the sunrise set the heavens ablaze. Or maybe it was just smog from Thilafushi. Who knows. It was a long time ago. All you know is you had a good time.
We pass by the flag, and then speed up as we go through that impeccable section of road they always keep nice for the tourists because their lives are more important than ours. We pass carnival, waving at our friends going the other way.
You wonder to yourself, why are some of us going in the opposite direction? You convince yourself that you, in your infinite wisdom, are driving in the right side of the road. There are less potholes and bumps on this side of the road see.
Dense traffic, and all of a sudden, Raalhugandu! For the briefest moment, as the spray hits you in the face, you feel an odd sensation. The slightly rotten smell of the salty mist. The way the lights flickered across the dark abyss between the Seawall and the planes taking off the runway in Hulhumalé. A lightness. A heightening of the senses yet a paradoxical relaxing of your inner self. You can't quite place it, but you feel it everytime you pass by this magical place. It is as if you can feel your soul gasping for air.
Did you know you were drowning?
As you pass it, you look behind your shoulder, staring back at it longingly like a burning man stares at the asphalt as he falls toward it from the top of a skyscraper, rushing towards the ground faster than the speed of light. As long as you hit the ground before the glass, you will be fine, you tell yourself. As long as I make it to the ground, the fire will be gone, and with it, the pain.
BALAA ENNU NAGOOBALHAA! KES BE' RANGALHAH BOALAIN' DHO THI INEE!
You almost crash into another couple. You tighten your grip and laugh it off. Your laughter makes me feel that way too. You wonder where the other couple were going, and why they were so angry.
Do you think they know where they are going?
As you pass the line of shmucks waiting for petrol (You're smarter than them! You filled your tank at that special time only you know about when there aren't that many people around! Give yourself a pat on the back for this one!), you think to yourself how it's only a matter of time before Raalhugandu swings on back. It didn't matter which inventive route you took, it was inevitable. Always. Forever. All roads eventually become a one way street. You've already passed it twelve times just this night, maybe one day you'll actually get there.
25 photographs from 25 Maldivian artists who inspire me
These are all photographers who have taken photographs that have haunted my subconsciousness. Photographs that I'd recognize instantly as being from the mind of these creators, photographs that make your mind gasp and your heart think; and of these they have many. As such choosing a photograph for each artist that truly encapsulates the spirit of their work was a difficult task to say the least.
I went through each of their portfolios, searching for that one shot that truly speaks for itself, an image that would stand the test of time, the crystallization of a moment so imbued with their personal style that they could only have been taken by the unique consciousness of that photographer; an image that hundreds of years from now humans or other sentient beings will look back with wonder at the seeming impossibility of the such a synchronistic event even occurring. For some people it took almost an hour, for others it was as easy as finding a particular image that I remembered seeing earlier and seeing if it held up to the memory. Either way I'm glad I'm doing this now instead of a few years down the road when I'm sure these people will have so many great photographs that picking just one would be insanity inducing.
So in no particular order, here are 25 photographs from 25 Maldivian artists who inspire me.
