Thuma Collective

One of the guiding principles of Catfish was to create a wider understanding of South East Asian photography, through “In conversation” we wanted to share exciting practice and conversations in support of the regions photographers, a sense of community, if you might. This community spirit is also fostered by photographers in the form of collectives, as you might remember from our interview with Matcha in Hanoi, Vietnam. We ask each photographer or collective to recommend the next for interview, from Lillian Suwanrumpha in Bangkok, Thailand, to Matcha, who recommended Thuma, based in Yangon, Myanmar. Thuma, an all female collective, driven by bonds forged out of creativity, collaboration and a sense of justice for the representation of female photographers both in Myanmar, but also globally. The replies to the questions below are as you would expect a collective response, from a group of multifaceted practitioners.

How did the collective start ? and what is the significance of the name ?

“There was a photography workshop for Burmese women organized by Myanmar Deitta in early 2017. It was a women exclusive workshop with 8 participants from different backgrounds. After the workshop, we wanted to maintain the connection between us and the energy and the passion we commonly shared for photography. We decided to meet up regularly to talk about photography in general and our shared challenges with it. After a couple of meet-ups, we said to each other to form a small group of women photography collective that would deliver visual stories through our own eyes.”

 “One of the main purposes of forming the collective was to keep inspiring each other. We are like our own support group in the industry. We needed each other to keep ourselves (in)sane and we still do. “Thuma” means “She” in Burmese. We chose that name because it is a collective reference for women in our own language, which is simple and direct.”

Who are the core members and what do they bring to the collective ?

“Our members are Khin Kyi Htet, Rita Khin, Shwe Wutt Hmon, Tin Htet Paing, and Yu Yu Myint Than. Apart from photography, we have other professional playgrounds, which we think helps us thrive as a collective. We have members who work in development field with local and international NGOs like Shwe and Rita. Tin is a reporter and Khin is an architect. Yu Yu runs Myanmar Deitta and is in charge of overseeing its education program. The members’ different connections build a diverse audience for the collective.”

In the beginning of the collective each member was tasked with producing a photo story, what was the idea behind this ?

 “One of the purposes of the collective since its beginning is to do storytelling. We wanted to make sure we are sharing the same platform for a common passion. However it is not just in the beginning of the collective—every member produces one photo story for an annual collective exhibition. We want to be consistent and keep growing together in the industry.”

You are quoted in saying “because we have womens bodies, we are treated differently, by both men and women” can you expand on this and how when photography comes into play this is potentially amplified ?

 “This quote was referring to a conversation at an event we organized for the Bridging the Naf photobook launch. Some members from Thuma and Kaali were discussing a common challenge we face as women photographers in the society as a whole both in Bangladesh and Myanmar. Women photographers have to prove again and again that they are “as good as” men. If we achieve something in photography, there are people who think we get it because we play “gender card” not because we are good at it. Once, Thuma members were scolded by a neighborhood woman for being out on streets after midnight. Women photographers get teased sometimes when they try to photograph male strangers. Sometimes, they get even harassed.”

There is a strong history of photography in Myanmar, but often through a colonial lense, which is being deconstructed and decontextualized through projects such as Myanmar Photo Archive and also the global success of photojournalists such as Minzayer OO, what is it that we are still missing ? and what is Thumba wanting to address ? 

 “We could learn about the existence of enriched photography culture in Myanmar since colonial time, through the projects such as Myanmar Photo Archive. And along with the coverage of the Saffron Revolution in 2007, photojournalism became an influential and important genre of photography in Myanmar.”

 “On the other hand, when we look at the contemporary photography scene just even in the region, Myanmar is much left behind. Again, the majority of the photography education programs and training are much focused on photojournalism, photography technical skills and kind of NGO reporting style narratives and languages. Photographers are expected to and sometimes either intentionally or unintentionally forced to cover and produce stories on hot topics such as Rohingya issues. Given that situation, many of the photographers in the industry tend to work on those hot issues in a way to achieve short term narratives rather than well researched and time invested long form stories.”

“There is also a kind of stereotypical perception that photography in Myanmar should portray very Burmese scene, essence and look. And, obviously, the representation of women photographers in even the mainstream journalism and photography industry is much lower and equal opportunity and access to female photographers in the media sector is a much neglected issue.”

 “What Thuma Collective is trying to fill the gaps are creating a safe space for women photographers where they can share their struggles in their practice and workplace and to share resources and information and to build a supportive and learning community among women photographers in Myanmar. And we are trying to promote the practice of acknowledging the role and importance of personal stories and considerably appreciating personal documentary photographers. Thuma strives to broaden the contemporary photography scene in Myanmar. Last but not least, we keep urging fellow photographers to be committed in story telling and long term projects.”

“Thuma has been achieving more recognition by each of its members’ growth while individual Thuma members benefit from the reputation and collective works of Thuma.”

Can you tell us about your limited edition book, “Bridging the Naf”  and  “ Sorry not Sorry” ?

“In Myanmar, in the olden days, there were lots of restrictions on books and now there has been more pressure on Tele-communication _ how and what you post on the internet than photobooks. Some organizations use our photobook “Briding the Naf” during their training within the IDP camps in Rakhine.( Bridging the Naf is the collaborative project between Thuma Collective and Bangladeshi women phtographer collective, Kaali). Apparently, we cannot hold the physical exhibition of Bridging the Naf at those camps.We realised photobooks can take easily the role of mobile exhibition or museum to the area where physical exhibition cannot be held under limited budget or under restricted circumstance.”

 “We, Thuma, try to initiate more activities with photobooks in Myanmar. In 2019, Thuma organized the photobook workshop with “Valentina Abenavoli ” from Akina publishing in Yangon and Yu Yu Myint Than from our collective conducted Zine Making Workshop with the collaboration of Goethe institut, Myanmar this year.”

“ In Myanmar, photobook market is still very new and very small. There are very few photobook publisher in Myanmar. So Thuma Collective either self-publish by pre-order system or apply for grants for publishing photobook. But  still as we are from Myanmar, it is very difficult to have the visibility of our books in international photobook festival and market. Our collective member,Yu Yu Myint Than will collaborate with Myanmar Photo Archive to publish her photo book “Sorry, Not Sorry,” which will be handmade personal book with a limited edition of 50 copies.”

There is  remarkable work coming out go the collective such as life in a love by Shwe Wutt Hmon , as well as work with big international organisations such as Rita A. Khan work with Handicap International, You You Mint Than placement on Magnum Foundation Photography, how does these successes help you both collectively and individually ( would be good to add more achievements here so all remembers are represented  ?

“Three of Thuma Collective members, Yu Yu Myint Than, Shwe Wutt Hmon and Rita Khin, have participated in the  regionally known Angkor Photo Festival’s Professional Workshop Program in 2016, 2017 and 2019 respectively. “

“Yu Yu has been exhibiting her works locally and internationally including at Obscura Festival of Photography, Penang, and Photoville, New York, Berlin, Frankfurt and in South East Asia.”

“Shwe has participated in programs such as Asia Women Photographers’ Showcase in Singapore and, as selected artist,  in 2018 Photo Kathmandu’s South Asia Incubator program. These kinds of individual exposure, engagement and achievement enables Thuma Collective itself and its members to be recognized and gain access and networks with international, regional and local photographic communities. Vice versa, as a result of Thuma’s hard work, efforts and positioning in Myanmar contemporary photography scene are paid off, Thuma has been offered a number of opportunities by the supporters. To name a few are, Yu Yu and Shwe were able to do their six-week-long artist residency in Villa Sisträuli, Winterthur Switzerland in January and February 2020 supported by Pro Helvetia New Delhi while Khin and Rita attending the Dhaka Art Summit in February 2020 representing Thuma Collective.”

“Since Thuma’s members different background and engagement in some of the important works in their respective field, cross cutting photography as their practice, for an example, Tin Htet Paing’s contribution in local LGBT &Proud Film Festival as a media champion and her regular contribution in local 3Act film magazine as writer position Thuma as an active role in local art scene. One of the values Thuma set up and practice is “Let’s grow together.” Indeed, it’s a Win-Win. Thuma has been achieving more recognition by each of its members’ growth while individual Thuma members benefit from the reputation and collective works of Thuma.”

How has an organisation such as Myanmar Deitta supported the work of Thuma ? and how have such collaborations with other institutions helped you grow ? 

 “Myanmar Deitta has been with Thuma even before we have founded our collective. In Myanmar, there are not many photography related institutions that focus on Contemporary photography work as we do. Deitta, provide us with space to showcase our works through exhibitions, workshops, training and other events . We also won the grant together in 2019 with which Myanmar Deitta has started the program called Contemporary Documentary Photography Practices, which is a seven-months long program providing the essential technical and theoretical aspects of modern photographic practice.”

 “In collaboration with Deitta, Thuma has also provided training for young girls in Myanmar and will extend to do more mentorship programs in the future. We can extend our activities with Deitta support and we also support with our activities. This collaboration is beneficial for both sides. Asides from Deitta, we are also collaborating with INGOs such as Oxfam and NPA as Thuma Collective also needs core funding for our operations.”

What has the collective enabled you to challenge and achieve?

 “In our collective, not all members are full-time photographers. We have an architect, a journalist and a researcher also. Most of the challenges we face are related to time and communications as we all are working and sometimes travelling around. The best thing about having a collective with people who have the same passion and heart is that we could drive each other to keep moving forward. We got closer to each other after each challenge we have faced because we work together to solve and overcome them. Thuma Collective was only founded in 2018 which is not long ago but we have done more than two exhibitions as a group and we have a plan to do more in the future. Besides that we are growing together and as individuals in each photography work and field. This is only possible because we are together as a collective.”

Does the collective challenge both concerns with Myanmar about the representation of women as well as globally ? 

“Women in every society have always been challenging the stereotypical and unjust portrayal of women in many ways. Thuma Collective is no exception to it. However, we identify ourselves as artists/photographers and not necessarily as activists. We don’t try to say how women should or should not be represented in culture and society; this applies to both Myanmar and globally. Our works may not be hardcore feminist or political but they are always induced by our need to voice the questions and statements we want to make about our surroundings socially, psychologically and philosophically. We think that when someone quite grounded in traditional concepts of women as passive and voiceless encounters our works, he or she will feel challenged and will become either repelled or curious.”

What is the next step for Thuma? 

“Compared to when we started back in 2017, the collective as a whole has grown in many ways, from each member’s development in their personal photographic styles to the number and scale of activities the collective does. For this year, we were planning an exhibition for the works we produced in our CDPP (Contemporary Documentary Photography Practice) program, are planning to give several workshops to local  in collaboration with some art space and NGOs, and an India based organization for participation in an art biennial until Covid-19 popped up and those are now suspended.”

“No doubt that we enjoy the activities we have been doing so far but it’s just five of us managing all of that and although the tasks are usually split among us, we feel we would need some formalization of the group in the future. For long-term sustainability.”