Photojournalism, Advocacy And Eurocentrism – Part 1: There Is No Other But Us

Please read my introduction post Photojournaliam, Advocacy And Eurocentrism: An Introduction before continuing reading the post here.

There Is No Other But Us

The Congolese is missing. The world created in the video game Zero Hour: Congo is based around a very clear and specific set of actors, none of which are Congolese unless they are ‘victims’. As Marcus explains:

The characters in the game would be based on people in the field: doctors, nurses, aid workers, journalists, photographers, child soldiers.

There is an surprising absence of ‘the other’ – the Congolese as an agent, an actor, and as responsible and engaged. This is now a comon argument, and one that I too have written about before (see one example here), but the fact that this erasure continues requires that I begin by addressing it again. There are no Congolese who are writers of their own history, agents of their own politics, definers of their own futures. It seems somewhat irresponsible to produce a product to educate a market segment called ‘Grassroots Electronic Users’ (I wonder what MBA came up with this one?), and not even have them deal with a reality more complicated than found in a typical comic book. In fact, this limited but popular world view is right out of Hollywood movies like Blood Diamond, The Constant Gardener, or any number of other features that show us the European as the agent of change, and action, and the force that allows the African (or some ‘Other’) to ‘discover’, ‘find’, ‘achieve’, and ‘become’. Details »

Photojournalism, Advocacy & Eurocentrism: An Introduction Or A Post With 17,000 Words Is Mercifully Broken Up Into Smaller Pieces

…Since 1945, the decolonization of Asia and Africa, plus the sharply accentuated political consciousness of the non-European world everywhere, has affected the world of knowledge just as much as it has affected the politics of the world-system. One major such difference, today and indeed for some thirty years now at least, is that the “Eurocentrism” of social science has been under attack, severe attack. The attack is of course fundamentally justified, and there is no question that, if social science is to make any progress in the twenty-first century, it must overcome the Eurocentric heritage which has distorted its analyses and its capacity to deal with the problems of the contemporary world.

(I Wallerstein, Eurocentrism and its Avatars: The Dilemmas of Social Science New Left Review, Issue 226, November-December 1997

Around the colonized there has grown a whole vocabulary of phrases, each in its own way reinforcing the dreadful secondariness of people who, in V.S. Naipaul’s derisive characterization, are condemned only to use a telephone, never to invent it. Thus the status of colonized people has been fixed in zones of dependency and peripherality, stigmatized in the designation of underdeveloped, less-developed, developing states, ruled by a superior, developed, or metropolitan colonized who was theoretically posited as a categorically antithetical overlord.…Thus to be one of the colonized is potentially to be a great many different, but inferior, things, in many different places, at many different times.

Edward Said, ‘Representing The Colonized: Anthropology’s Interlocutors’, Reflections On Exile: And Other Essays, Page 294

The characters in the game would be based on people in the field: doctors, nurses, aid workers, journalists, photographers, child soldiers. NGOs would be involved in the game’s design so that the user is educated as well as entertained. These organizations could also benefit from revenues generated by the players, which could aid real world projects in specific places.

The photojournalist will hopefully be the link between the aid/NGO world and the people who are impacted by the conflict. They will be able to go behind rebel lines to see the use of child soldiers and to report on the violence, displacement, and desperate health situation. In this way, the photojournalist will be the eyes for the game “world.”

(The photojournalist Marcus Bleasdale, talking about his new video game venture Zero Hour: Congo, described as ‘…an immersive game based on the conflict in the Democratic Republic of Congo’)

Marcus Bleasdale is perhaps amongst the world’s most well known photojournalists. His near twelve year work on the conflict in the Democratic Republic of Congo (DRC) has won him international recognition, awards from most all photojournalism competition of note and various foundation grants. A member of the famous VII photo agency, he represents for many, the finest in the tradition of concerned photography. Marcus has dedicated the better part of his career to the conflict in the DRC, and has extended his work with an extensive set of engagements with both human rights organizations, international media and international bodies such as the United Nations. As he describes it himself, his aim has been to make people: Details »

Documentary Photography As Voice: First Pakistan Workshop: June 23rd to 27th 2013

Workshop Poster (small)

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Ideas, Inspirations and Still A Time For Dreaming

radio-congo-9781851689279

Sitting this morning in Lahore I am dreaming of Africa, of borders, and of other things that distract.

Ben Rawlence’s book Radio Congo: Signals of Hope From Africa’s Deadliest War arrived in the mail today. I had met Ben in New York some weeks ago at a dinner sponsored by the Open Society Institute. Ben is an Open Society Fellow this year and working on a new book about life in the Dadaab refugee camp in Somali. While speaking to him I mentioned that I was now living in Kigali, Rwanda, and was soon on my way to shoot a short assignment in Eastern Congo. Ben graciously offered to send me a copy of this work – a personal journey to the fabled city of Manono in Eastern Congo. The journey by foot, bike, and boat becomes a meditation on the history of the region, colonialism, the post-colonial dreams and the nightmares that replaced them, and about a new world emerging from a history that looks chaotic, but has its own trajectory and logic.

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Against Whispering

Simon Norfolk.

I was so confident that I had written about his work on this blog that I even suggested to some of the students working with me on my Justice In Pakistan project to do a search on this, The Spinning Head, blog and take a look at his work. When they came back a few days later and pointed out that their search yielded no results I was surprised, and embarrassed. It was inconceivable that I have never discussed Norfolk’s work in all the years that I have been writing this blog. It was later that I realized that I had planned on writing about him, in particular his recent work in Afghanistan, and had decided to wait until after I had reviewed his latest project. And then I never got around to it. I want to fix this terribly oversight and write about his work now.

About two years ago I received an email from Simon that said:

I’m a big fan of your blog and in particular your thoughts about embedding in Afghanistan. Which was why I went and embedded in Afghanistan! I’d like to show you the results, it’s following in the footsteps of John Burke, a photographer who was there in 1880; can I mail you a copy of my book? Can you send me an address? I’d love to hear your thoughts, good or bad.

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George Osodi – The Niger Delta / The Kings Of Nigeria

George Osodi_Kings of Nigeria - Artscape - Al Jazeera English_20130510-112327

I am enjoying this new series that Al-Jazeera is running – Artscape: The New African Photographers. Its not just it is a sheer pleasure to hear new and different voices in photography – the European and American obsession with a few handful of the same old voices, largely selected by bored editors from agencies such as Magnun, VII or Noor etc, becoming quite tiresome and banal. It was simply lovely to hear Osodi talk about his work, about how he began it, and how he sees and understands the issues that he is trying to represent.

 

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The Subjectivity Of It All

Photojournalism remains a deeply subjective craft – the act, the craft, the technique, the entire business enterprise (from stories selected, assigned, produced, photographed, published, produced, awarded etc.) relies on a series of subjective choices and prioritization. That is, photojournalism, much like any journalism, is fundamentally a human act of exploration, investigation, articulation, documentation, explanation, argumentation, and presentation (not necessarily in that order) and carries within it, as in all human enterprises, a series of human choices, selections, eliminations and and prioritization. And hence, carries within it the fundamental characteristics of all human and humanistic knowledge and endeavors, and that as Edward Said argued:, we can:.

…acquire philosophy and knowledge, it is true, but the basic unsatisfactory fallibility of the human mind persists nonetheless. So there is always something radically incomplete, insufficient, provisional, and arguable about humanistic knowledge that…gives the whole idea of humanism a tragic flaw that is constitutive to it and cannot be removed.

(Said, Edward Humanism And Democratic Criticism, Page 11-12)

Every serious, responsible photojournalist who steps into the world to report and say something about it works to mitigate the problem of human fallibility by proceeding with a determination to report issue fairly, and to document and communicate their findings honestly, comprehensively and ethically. That is, the only thing that allows us to take any photojournalism project seriously is the belief that the reporter has carried out her task with a dedication to these principles. It is also one of the reasons why mainstream news outlets remain so critical to the process – they offer the reputation and trust that allows us to take any reporting from the field seriously.

Ironically, this is the one aspect of photojournalism that news photography and photojournalism contests do not focus on. In fact, there is a near absolute focus on the aesthetics of an image, and little or no focus on evaluating the veracity, accuracy, reliability, and rigor of a photojournalism story. Most of the controversies that emerge during the photo competition season tend to center around issues of aesthetics, as when a number of people voiced concern that Paul Hansen’s World Press Photo competition winning image was over manipulated or adjusted differently for the competition than from when it first ran in the newspaper. Each year, at the end of the major photojournalism competition season, we see a whole host of these complaints and concerns being expressed, with many people expressing outrage at the level of image processing, and adjustment in various winning images. In fact, the only reason an ethics controversy occurred this year was because of a group of bloggers and researchers directly and indirectly invovled with the story produced by Paolo Pellegrin cried foul. Details »

On How Not To Speak About Photojournalism Or Anyone Notice We Are Still Human?

In his book Humanism and Democratic Criticism Edward Said writes about a writer’s congress convened in New York by The Nation magazine. The congress organizers left open the question of who was a writer and why he or she was qualified to attend. As Said tells it, literally hundreds of people turned up at the event, crowding up the room to ‘…almost to the ceiling.’ Soon a debate ensued about the definition of a writer in order to help select members to a writers union and to determine who could vote in the congress. I let Said’s word tell us what followed:

Not much occured in the way of reduced and manageable numbers: the hearteningly large mass of people simply remained immense and unwieldly since it was quite clear that everyone who came as a writer…stayed on as a writer…

I remember clearly that at one point someone sensibly suggested that we should adopt what is said to be the Soviet position on defining a writer, that is, a writer is someone who says that he or she is a writer. And I think that is where matters seem to have rested…

And so there we have it – a writer is someone who says that he or she is a writer. In a world with near ubiquitous access to a computer, the Internet, language and grammar, practically everyone is a writer and can string together a series of sentences to justify that claim. But Edward Said offers this anecdote to build his argument that in fact, not everyone is a writer / intellectual (in his original piece, he conflates those two). and though never offers a clear set of criteria, there follows a paragraph that I believe captures his argument for the need for a differentiation. He argues that:

To answer the question of why, in this and other similar contexts [on discussing why people, despite massive repression, continue to fight] individuals and groups prefer writing and speaking to silence, is equivalent to specifying what the intellectual and writer confront in the public sphere. What I mean is that the existence of individuals or groups seeking social justice and economic equality, who understand that freedom must include the right to a whole range of choices affording cultural, political, intellectual, and economic development…will lead one to a desire for articulation as opposed to silence. This is the functional idiom of the writer / intellectual vocation. The intellectual therefore stands in a position to make possible and further the formulation of these expectations and wishes.

What is striking about this argument is its focus on the individual’s sense of responsibility. The fact that Said places at center stage a set of human aspirations and ideals – equality, freedom, and justice, to differentiate those who have the tools and technology to write, and those who are writers. And I would argue, that it is such a set of human aspirations and ideals that raises one from being merely a photographer, to being a photojournalist. Details »

Recycling Myths To Remember A War

You cannot report a war from the front lines. You can only report a battle. Ducking under fire, scared for your life, beholden to the largess and tolerance of the military forces you are traveling with, denuded of context, obsessed with the immediate action unfolding in front of you, while constantly keeping an eye over your shoulder for the ‘enemy’, riddled with panic, fear, doubt, and worry a reporter on the front line struggles to keep up with unfolding events. Like watching a movie, she is unable to see and think simultaneously – she can merely report the immediate, the literal, as it unfolds in front of her. And an embedded reporter is in an even worse position – trapped not only physically, but also ideologically and with the constant fear of being ‘locked’ out if she fails to tow the line.

But wars are not merely the combat and journalism isn’t only about reporting the battles. In fact, when it comes to wars, one could safely argue that the battles are the least interesting pieces of information, and the most misleading. They tell us nothing about how we got into the war, the broader social, political, economic, cultural and individual devastation they unleash, the millions of lives of ‘the enemy’ that are torn asunder, the suffering of those left in the wake of the war machine and the festering and degrading realities that emerge as a result of the occupations and repressions that necessarily follow.

The focus on the battles distracts from the war itself – its reasons, its objectives, and lets be honest, its real consequences for those who were trampled under it. And certainly when it comes to wars of choice, those that our leaders led us into on the basis of lies, journalists have to accept that the front line is in fact the worst place to report as it is most distant from where one can make the inquiries and investigations, understand the realities and histories, that went to make the war, and that plague the came in the aftermath.

But of course, photographers need ‘action’ and ‘events’, and the medium cannot comprehend many of these complexities is then left documenting only the most obvious, and literal manifestations of a conflict – the violence itself. But violence tells us nothing, nor does it really tell the story of a war. As was evidenced by most all the photo slide shows that recently appeared to ‘commemorate’ the 10th anniverary of the American attack on Iraq. Most all simply focused on the battles, the soldiers, the weaponry, the casualties – the front line where truth is in fact practically impossible to find. Details »

The Collaborator

I started to write because I could not find a writer.

Or at least that is how I have explained this shift from simply making photographers, to producing works that now rely as much on writing as they do on making images. My three years of work in India, The Idea of India, and the recent work in Pakistan, Justice in Pakistan, are a result of a longing to add complexity and depth to my works. After hoping for years to meet – fortuitously or intentionally, someone who would put into fabulous text the ideas I was trying to capture through images, I realized that I may never find the kind of collaborator that so many others I know have some how found. Details »

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