Photography is a powerful way to inspire solidarity, and I wish international solidarity movements used more of it, but it is also VERY easy for photography to unintentionally fall into colonial patterns in ways we may not see right off. Before you read on, stop and think: what patterns might the above photograph be falling into?
As David Campbell, one of my favorite geographers, put it: "The choices that Akena made in taking the photograph, and The Guardian made in making it the largest picture in its ‘Eyewitnessed’ double page spread for the first week in March, are evident when compared to other pictures from the same event. On The New York Times Lens blog Stephen Wandera’s photograph for AP (see slide 2) shows a large crowd at the scene searching for survivors, while a Ugandan TV report also shows the community at large. These demonstrate that the photography of the lone boy is a specific choice with particular effects that tap into a long history of visual representation.
It is time for the photographic visualization of ‘Africa’ to offer something different. ..One significant project doing this is Joan Bardeletti’s “Middle Classes in Africa,”...
Caption: Un dimanche après midi en famille sur la plage près de Maputo. Joan Bardeletti/PicturetankThe picture above just cracks me up. It's the little dog that gets me. In the rest of his post, David goes on to argue that it's not a matter of some pictures being right or wrong, or just thinking of it in terms of positive or negative photos, but aiming to not perpetuate cliches, like "lack and absences in ‘Africa’" and that instead we should aim "for a more complex, self-aware, form of ‘positive’ photography". Not sure that this exhibit of African women leaders by Bono's One organization fits that bill.