The Essence of Ballroom: Interview with Analogue Photographer Chai Saeidi

Chai Saeidi is a young visual artist based in Oslo. They have spent the last few years capturing Scandinavian Ballroom functions on film, immortalising moments of movement, community and queer liberation. Chai's images are fantastical, vibrant portraits of found families and unapologetic boldness.

In this interview Chai speaks with us about the value of Ballroom events as queer spaces, the influence of their Iranian background on their art, and the technical challenges of analogue photography in high-energy, fast-moving environments.

Hi Chai! Could you start by telling us a bit about yourself and how you got started with film photography?

I create through different mediums, focusing mainly on analogue photography and video. Growing up I used to document things, days and happenings. I borrowed a friend's digital camera and dropped out of university. Shooting with film was different though, it spoke the same language as me. It painted the feelings I felt and it viewed the world the same way I did. I think I fell in love with film because of that.

What drives you to create the work you do?

It always goes back to the feeling I had when I was younger and I saw representation of my community, queer people of color, which was rare to see. It was and will always be admirable to me seeing people live unapologetically as themselves. The need to see my community as a child turned into the need to show us off today.

Has your Iranian background influenced your photography at all? If so, how?

I grew up with hard-working parents, and they put me on to a lot of great Iranian artists, whether it was music, art, rugs or handcraft. My culture and our language itself is so deeply rooted in poetry. If anything, it has influenced me in a way where I want to speak on multiple levels at the same time. Being strongly impacted by so many different mediums growing up, I can’t limit the mediums in which I express either, because I’ve felt through different “languages”. So I like to play around with photography, video/film, installations and text to mention some. The same goes for my own physical expression, it’s layered and fluid. I want my work to mirror that.

When embarking on a project or a shoot, what is, for you, the most important thing to capture? What do you set out looking for?

Emotions and realness. My favorite thing is to capture someone in their purest form. Beauty can only reach so far, you know? I like story-telling.

Tell us more about the origin and the context of this project.

I know Ballroom as a lifestyle and not a project. It’s a space where we pay homage to (and celebrate) the ones that came before us and paved the way. My first random in-person meeting with the Norwegian scene was at a Pride event in 2017. I ended up snapping it. I’ve had friends that've been part of the community for some years, but the first time I photographed a proper function was at my girlfriend's ball in November 2021. I wanted to be part of the scene and it came natural to do so by documenting it.

I've traveled and photographed functions around Europe ever since, especially in Scandinavia where the scenes are growing. Recently I went to my first ball outside of Europe, in the Philippines. The love within the community is present no matter what side of the planet you’re on, and I think that’s why it’s so sacred. It’s important for me to document this. A lot of us don’t have the same support outside of Ballroom. I’m grateful that I have these experiences and to be able to capture my community.

Your photographs from this project are all set in low-light spaces. From a technical point of view, how do you navigate photographing in these situations?

It can be really challenging. Sometimes I try to prepare according to the lights in the venue. Regardless - ISO 800 film and flash is key. It can be really limiting if you don’t have that. You’d have to find light spots and try shooting with low aperture and low shutter, and hold your camera as tight as possible to avoid blurriness, unless that’s the look you’re aiming for. I do bring a light meter, but I rarely use it at a function.

Visually, this project contains a lot of drama - bold colors, contrasts, textures. Is this something that has always attracted you, artistically or individually? Why?

Not necessarily, it fluctuates a lot. Sometimes I like to shoot soft textured photos even in black and white or single colors. But I think with ballroom it easily becomes dramatic because we want to stand out. There’s a lot of bold beings, bold clothing, colors and looks, different textures.

There are also barely any photographs with just one person - you consistently depict a dense, dynamic community, and the series feels almost collaborative. Why is this important to you?

It gives a different type of energy. One of the main factors in my Ballroom work is to depict the atmosphere in the room, so that you feel the essence of Ballroom. You can’t have that if you only shoot one by one. When you step on the runway, you give and you take. When you spectate, you give and you take. It goes hand in hand.

How do you navigate these fast-moving, crowded spaces in your photographic process?

You don’t have time to think too much. I guess it goes with most photography - if you see something you like, you snap it. I try to tune in and learn people's tempo and language. The lens needs to follow and move with it.

There is a photograph in this series where a light leak obscures the face of your subject. Is this intentional? How do you approach mistakes in analogue photography?

This specific leak was not intentional, but I ended up enjoying the “error” in the photo a lot. I’ve just learnt to take it for what it is. I think it’s the charm of analogue photography. Sometimes it’s a scratch here and there. It gives the photo its own story and life. If I don’t want it there I just retouch, but I’ve tended to keep the film “imperfections” even at galleries.

Do you have any upcoming projects that you’d like to share with the community?

It’s still in the works, but will be finished next year. You’ll see it on my socials.

We'd like to thank Chai for sharing their work and insights with us! To view more of their work, follow them on Instagram and check out their website.

written by emiliee on 2023-12-21 #people #family #norway #community #iran #scandinavia #bold #queer #ballroom #identity #individuality