Born Aid 20. The Commission on Africa. Live 8. Make Poverty History. The G8
Summit in Gleneagles. We are witnessing renewed debate about global poverty,
disasters and development, especially in Africa. Coming two decades after
the Ethiopian famine of the mid-1980’s the time is ripe for a
reconsideration of the power and purpose of disaster pictures given the way
the images of the Ethiopian famine spawned the original Band Aid/Live Aid
Imaging Famine is one of several intriguing events I’ll be involved with in
September 2005. The event in New York is not public, so I’ve left out the
details, but I will be there in case anyone wants to meet up.
5th and 6th September: Imaging Famine Conference
The Newsroom. Guardian. London. UK
contact: Dave Clark, Bolton University: dj at djclark.com
*8th September: Panel Discussion: Imaging Development*
*Open University Campus, **Milton Keynes**. **UK***
*contact: Helen Yanacopulos, Open University: H.Yanacopulos at open.ac.uk *
10th September: Symposium, A Critical Evaluation of Photographic
Sunderland University. Sunderland. UK
contact: Bas Vroege, Paradox: Ebv at paradox.nl
12th ? 14th September: New York
17th and 19th September: 15th Videobrasil International
Electronic Art Festival
Sesc Pomp?ia, S?o Paulo. Brazil
contact: Luciana Gomide, Video Brasil: *fcfcom at uol.com.br*
22nd September: Launch of Internatioanal Touring Exhibition: Tales From a
Drik Gallery, Dhaka, Bangladesh
contact: Rezaur Rahman, Drik: reza at drik.net
24th September: National Geographic’s All Roads Film Festival
Egyptian Theatre: Los Angeles. USA
contact: Alexandra Nicholson, National Geographic: anichols at ngs.org
26th September: Presentation: “In Search of the Shade of the Banyan Tree”
UCLA. Los Angeles. USA
contact: Angilee Shah: angshah.asiamedia at gmail.com
29th September: Conference: Free Media
The Norwegian Institute of Journalism
contact: Solberg Oona, MFA: oona.solberg at mfa.no
It was Drik’s birthday yesterday! Sweet Sixteen!
ps: we’ve started a data entry unit and are looking for work. So if you have
Over the years, February has become our month of resistance. This is the window that successive repressive governments have allowed us, to vent our steam. The open air plays in Shahid Minar, the book fare in Bangla Academy and of course the midnight walk and the songs of freedom on the night of Ekushey, the 21st February, are all tolerated, for one month.
Yuppie Bangladeshis put on their silk punjabis and saffron sarees, and become the torch bearers of our heritage, for one month. Come March, it will be business as usual. It has been difficult convincing development experts of the value of culture in our society. With ‘poverty alleviation’ being the current? buzzwords, one forgets, that it was the love for our language that shaped our resistance in ’71 or that ‘Bangla Nationalism’ has been used to justify repression in the Chittagong Hill Tracts. On the 1st February, perhaps we could look back at a collaboration between Drik in Bangladesh, and Zeezeilen in the Netherlands:
Power of Culture: Bangladeshi Spirit
Culture glides through peoples’ consciousness, breaking along its banks, accumulating and depositing silt, meandering through paths of least resistance, changing route, drying up, spilling its banks, forever flowing like a great river. Islands form and are washed away. Isolated pockets get left behind. It nurtures, nourishes and destroys. Ideas move with the wind and the currents and the countercurrents. Trends change, flowing in the slipstreams of dominant culture. A few swim against this current, while others get trapped in ox-bow lakes, isolated from the mainstream.
Photography, more than any other media or art form has influenced culture. Photographs in particular take on the dual responsibility of being bearers of evidence and conveyers of passion. The irrelevant discussion of whether photography is art has sidelined the debate from the more crucial one of its power to validate history and to create a powerful emotional response, thereby influencing public opinion. The more recent discussions, and fears, have centred on the computer’s ability to manipulate images, subsuming the more important realisation that photographs largely are manufactured by the image industry, one that is increasingly owned by a corporate world. The implied veracity of the still image and its perceived ability to represent the truth hides the ubiquitous and less perceptible manipulation enabled by photographic and editorial viewpoint. Not only can we no longer believe that the photograph cannot lie, we now need to contend with the situation that liars may own television channels and newspapers and be the leaders of nations. Given the enormous visual reach that the new technology provides, the ability to lie, is far greater than has ever been before.
Photography has become the most powerful tool in the manufacturing of consent, and it remains to be seen whether photographers can rise above the role of being cogs in this propaganda machine and become the voice for the voiceless.
11th September 2002. I was at Heathrow Airport, flying home to Dhaka. Friends had warned me against flying that day, but I wasn’t too bothered and looked forward to the empty seats I could stretch out on. In place of the flight notices, the loudspeakers made an unusual announcement. It was a call for a minute’s silence for the people who died at the World Trade Centre and year ago. A minute’s silence, and then it was business as usual.
The piece that follows was written in February 2003, in the week following the judging of World Press. Before the invasion of Iraq, before the advent of embedded journalism. Later at the award ceremony at the Oude Kurk, I was impressed by Wolffensperger’s speech (Chairman of the Board, World Press Photo), made in the presence of the Dutch Prime Minister, where he clearly stated his position regarding the attack on journalists and the media coverage during the invasion. I was left wondering however, why we as a community have never called for that minute’s silence, for those killed in Afghanistan or in Iraq, or the industry’s silence on the killing of its workers. We are responsible for the words that we speak, and the images we produce. Who will take the responsibility for the silences we maintain?
Much is made of the figures, but this is not a numbers game. While the sheer volume of photographs is daunting, it is still in the end a qualitative choice. How does one weigh one photograph against another? What makes one compelling image more special than another? What criteria do juries use to determine which one is best?
The parameters for the World Press Photo of the year are known; a photograph showing outstanding visual qualities and representing a news situation of global importance. News photographs are often taken on the run, in situations of extreme stress, often in situations of danger. Only outstanding photographers are able to create powerful, moving, beautifully constructed images even under such conditions. But their qualities need to combine with outstanding news-value to create the most talked about press image of the year.
2002 was a year of waiting. Waiting for UN resolutions to be applied equally to all. Waiting for aggressors to be punished. Waiting for a war that the world abhorred but seemed unable to stop. Missing were the moments that news networks paid millions to cover. Disasters in western countries lacked significant death tolls. Nothing significant had happened in the countries that mattered.
That is not to say that nothing had happened, or that the world was at peace. In a world where all lives are not equal, some lives are easily forgotten. Their daily plight does not count. Their struggles are insignificant. No war machines come to their rescue. Unless material interests intervene.
But riots, earthquakes and indiscriminate bombings have taken place, and occupation continues. And there have been photographers who have been there. At a time when defence pools, restricted access, and editorial policy define the perimeters of journalism, some photographers have gone against the grain and covered stories which should have been news but weren’t, about people who should have mattered but didn’t.
Clinging to the trousers of his dead father, a young boy cries for a loss that is as universal as it is personal. The image talks of humankind’s eternal struggle against nature, and a community’s ability to stand by the afflicted. Yet, amidst all these people, the young man is alone in his misery. The death he mourns might not matter to a world that doesn’t care, but to him, the world might well have stopped. And one photograph preserved that moment, a silent witness of an emptiness that speaks to us all. One photographer takes on the challenge of questioning our definitions of news.
As for the judging itself, it was a complex, passionate, fervent affair. Time and time again, we were humbled by someone’s insight into a moment, that had completely passed us by. Again and again, our zone of comfort was invaded. We were shaken into responding to an argument that questioned the values that we had always considered unshakeable. Our tools of measurement were cast aside. We stood naked, our prejudices exposed.
The photographers too stretched us. Images that explored the gaps in our visual spaces, played with our sense of balance. War was presented through lingering traces. Political systems presented through emptiness and solid structures. Consumerism and decadence exposed through garish images, unashamedly rejecting the classical norms of image construction. Tender moments rendered without sentimentality. And of course those stark images, where the photojournalist, at the right place at the right time, but hopefully for not too long, returned with the horrors of what man does to man.
When the credibility of our media, shrouded in propaganda, struggles for survival, a few brave women and men continue to report the news that is no longer newsworthy. This contest salutes their courage.
21st February. Oldham.
Chairman of the Jury 2003
I took the picture at one of the refugee camps in Tanzania set up by the government. I was trying to show the plight of the children who were lost and never reunited with their families. It was a hot and sunny day and I was a bit tired, having visited several camps in that area. 8 year old Kindaya Chikelema from Burundi stood in front of a notice board. More than 4000 children were lost while fleeing the war in Brurundi and Rwanda. Kindaya was one of the lucky children to be found by his parents after they saw his picture on the notice board at one of the camps.
A Different World
The many letters mailed all over the world had produced few results and it was ‘door to door’ time. I had placed the loose collection of prints on Dexter Tiranti’s table at the New Internationalist Magazine in Oxford. I remember Dexter’s letter the following year, regretting that he could only use six images from our agency, as the selection already had too much from Bangladesh. That started a long relationship between our organizations and led to my involvement in Southern Exposure, a platform, like Drik, for promoting photographers from the majority world. The Net has helped, but most of our contacts have come from information gleaned on motorbike rides down the back streets of Hanoi, or a meeting in a paddy field outside Beijing, or a visit to a museum in Tehran or similar opportunities for meeting photographers, whom I would not have come across in the mainstream directories. I remember excitedly going through boxes of prints that only fellow photographers or close friends had seen. Of newly found friends telling me of people I must meet. Friends from the Drikpartnership, students, colleagues at other agencies and at World Press Photo. Friends, who like us, have believed in the plurality of image sources and have been active in trying to bring about a change.
The images too have been different. These are not the ‘developmental images’ extolling the virtue of the latest World Bank fix, or the ‘news’ images that choose not to see beyond editorial briefs. The abandon of the flutist in Bangladesh or a ‘sweet fifteen’ dance in Peru, or the careless joy of the children on the branch of a tree in South Africa represent a personal involvement of the photographer, and a relationship with the photographed, often missing in the ‘big stories’ that the major agencies send their photographers to ‘capture’. Little of what you will see here is newsworthy to mainstream media. No hype reaffirms the success of a particular development plan. It is revealing that these majority world photographers have an insight and a sensibility that is strikingly different from that of their big name visitors. It is telling that an altogether different story emerges when a different pair of eyes is behind the lens. In their own back yard, they see a different world.
See Full Calendar
The Visual Representation of Developing Countries
by Developmental Agencies and the Western Media
by Shahidul Alam
|Perceptions of the developing world
I was staying with friends in Newry in Northern Ireland. Paddy and Deborah had kindly made their five year old daughter1s room available for me. Corrina was friendly and curious and would spend a lot of time in the room. One day as I was clearing my pockets of change I had accumulated, she suddenly remarked, “but you’ve got money, but, but you’re from Bangladesh.” The family had just returned from a trip to Bangladesh. Paddy was a development worker and they had visited many of the projects. At the tender age of five, Corrina knew that Bangladeshis did not have money.
Who portrays whom
A recent fax from the National Geographic Society Television Division, to our picture library – dedicated to promoting the work of indigenous photographers and writers – asked if we could help them with the production of a film that would include the Bangladeshi cyclone of ’91. They wanted specific help in locating “US, European or UN people ….. who would lead us to a suitable Bangladeshi family.”
The situation is not unusual. Invariably films about the plight of people in developing countries show how desperate and helpless the people are, the people who realize their plight and come forward to their support are usually white foreigners. In some cases even local people are seen to be helping, but invariably it is a foreigner who has enlightened them about the way out, and it is always a foreign presenter who speaks out for them. The foreigner is so strong and forthright and so caring. She could almost hand over the microphone to them, if only they could speak for themselves, if only they understood.
The construction of a stereotype
Wide angle b/w shots, grainy, high contrast images characterize the typical third world helpless victim. Huge billboards with a dying malnourished child in a corner with outstretched arms. A clear message in polished bold font in the top left corner cleverly left blank. The message reads “We shall always be there.” A reality constructed for and by those who want us to forget the implications. That “you (the developing world) shall always be there.” In that role (a passive existence necessary to be maintained) those who receive aid, the “client group,” remain.
The assumptions and how they are validated
The end product in all these cases is the same. The Western public gets to see a distorted view of the developing world. A situation for which the public in question can hardly be totally free of blame. School children in the UK think 50-75% of the worlds children are visibly malnourished (the real figure is less than 2%), and that only 10-20% of the world’s six to twelve year olds start school (the real figure is almost 90%), and that the rate of population growth in the developing world is increasing (it is decreasing in every part of the developing world including Africa). The fact that a high proportion of the information about the developing world for the average western reader comes from fund raising campaigns is another cause of this gross distortion.
There is of course the other tack where “Third World Participation” is created in the form of guided tours to paid Third World journalists who are given what amounts to a censored view of well to do countries. In a recent tour of the United States organized by the United States Information Agency, I was accompanied throughout by a person from the State Department, and my request to visit Harlem was turned down due to “security reasons.” My report on the trip was never made public. That people from the developing world do go on these trips and cater to these forms of tokenism is of course a slur on their own professionalism. Organizations like the World Bank do sponsor studies by people known to be mildly critical, with the proviso, that the World Bank would decide if the work would be published. Thereby retaining ultimate control.
The business of development
Every organization has a goal, a means and a method. The apparent goal of donor organizations is to make the recipients self sufficient. For this it uses tax payer’s money, usually a fraction of a percent of its GNP. Genuine aid also constitutes a tiny fraction of the recipient’s income. The method varies, but invariably involves an input of a lot of personnel, and materials from the donor country which is paid for by the same money that was given out as aid. An organization’s growth depends on its ability to generate more work. There are a limited number of recipient countries, a restricted market. All donor agencies compete for this small market. A recipient country that truly becomes self sufficient (unheard of in the history of development), no longer needs a donor. The donor agency, by fulfilling its manifesto would make itself redundant. The same applies for a development worker. The myth of humanitarian aid, however, has long been discarded, and the donors are now openly more concerned about governance, (how we spend their money) and there has been a visible shift towards administering the flow of funds rather than the humanitarian utilization of funds. Donor agencies invariably declare themselves to be non-political. The very act of giving money, or its equivalent, to people who are badly deprived is strongly political. The development worker is in a very powerful position. They are people who have to be pleased if one wants a loan, or access to education, or food.
The truth is, that despite all their claims about delegation, very little decision making involves local people. And very little decision making by the foreign experts involves in-depth local knowledge. It would be hazardous for these foreign experts to permit the infiltration of people who could penetrate their information chain, something that photographs are particularly good at doing. Culture, once considered a hindrance to development has now, become fashionable to promote. But it has to be a particular type of culture packaged in a particular type of way.
The “image business” is inextricably linked with the “development business.” From slide shows in remote villages to slick exhibitions in posh hotels, from A5 flyers to coffee table books, from fund raising campaigns to annual reports, image hungry developmental agencies depend heavily on image makers. One feeds off the other. It is hardly surprising therefore that the image producers (read mostly white men photographers) produce images that are good for business for both industries. Development or fair representation doesn’t enter the equation.
The Marketing Strategy
There is of course the need (amongst industrialized nations) to show the results of donor aid. The recent major feature in the Observer newspaper in the UK on OXFAM, was called the Poverty Supplement, and in Observer’s own words “The main aim of the Poverty Supplement was to persuade our readers to support OXFAM’s work financially. This was obviously successful.” The supplement was in fact an advertisement in the Observer to the tune of about #25,000. Pledges from the Observer readers amounted to a third of the annual budget for OXFAM’s development partnerships in Zambia. When a similar proposal was made for CONCERN’s projects in Bangladesh, though CONCERN had proposed a local photographer of international standing who had been working on the projects for over six years, and the Observer had initially agreed, they backed out in the last minute, and used a British photographer. They did however use stock photographs from the Bangladeshi photographer, but were only interested in the slum and poverty pictures which were a small part of the total work.
The power of images
A camera can be a tool of extreme sensitivity or no sensitivity at all. A photograph can:
1) Be an eye check on memory
2) Give detailed information
3) Show what we cannot see
4) Store away complex data for future analysis
More importantly it can influence people and create powerful emotional responses. We are aware of the meaning of words, but forget that images may have different meanings to different people, and that the meaning of a photograph can depend to a large extent on the context in which it is used. “The Camera never lies” is the biggest lie of all.
The need for a different type of education
If we are to genuinely work for social change, what direction should developmental education go in? Teach local people about the fruits of good nutrition, family planning, education of their daughters. That is extremely important and is largely being attempted. What about teaching people (particularly development workers) to look for other options besides aid? What of creating role models of Bangladeshis running international developmental organizations, and giving these Bangladeshis the support and the clout necessary for them to succeed? What about foreigners trying to learn Bangla, and veering away from the policy that success in the development ladder correlates directly with a person’s competence at English? What about use of images that show a positive aspect of the country rather than the fund collecting images of helpless destitutes? What about not distorting captions by substituting them with dramatized, orientalist plethora? What about desisting from patronizing the government and genuinely working with them rather than creating what is in effect a parallel government? What about teaching those working in development what the word really means?
The credit lines in articles dealing with poorer countries have no indigenous names. When questioned why this was so, picture editors and development workers claimed that there simply weren’t people in these countries qualified to do the job. Their reliability, their professionalism, their ability to understand the brief was all suspect. In response we began to make a survey of indigenous photographers working in their own countries. The response, both in terms of numbers and the quality of the work was overwhelming. If a small organization based in Bangladesh armed with no more than lists obtained from interested friends can pool together an impressive list of talented indigenous photographers doing good work in their own countries why has it been so difficult for the development agencies to ‘discover’ them. Discovery is of course a key word when photographing the natives. The photographer steps down from the plane, ‘discovers’ the native and goes back with the scoop. That discovery implies past ignorance, seems to never get noticed. Yet there are people who did know the local people, understood their language, were respectful of their culture and understood the underlying causes of things. These are the people, skilled, available and able, who do not exist. They have not been discovered.
The history of photography fails to mention the work done by photographers in poorer countries. While the heroic feats of Hill and Adamson are extolled, the photographers who had to import all their equipment and materials from the wealthier countries and documented their cultures for little financial gain have never been registered in the archives. The few exceptions like Indian photographer Din Dayal, given the title Raja by the British who had been legitimized for having served the crown. Other much more important names in the field from the same period, like Ali Ahmed Khan, never get mentioned, puzzling until one remembers that Khan had led a rebel attack on British troops.
In five years of operation as a picture library based in the developing world, we have had many requests for images of Bangladesh by publishers, NGOs, donor agencies. The most frequently requested picture so far have been of the floods, cyclones, and slums. There was even a request for flood inundation of Dhaka in the floods in ’93, which the client insisted had taken place. We have not for instance yet been asked for a picture of a person at a computer terminal, a very commonly stocked photograph in western libraries, and one which we too have several of. In one instance the client, an educational publisher in the UK insisted that our photograph of a tila (little stupa in the middle of a pond, used as cyclone shelters) was much too small and that they knew of huge giant stupas, which local photographers and community workers who had extensively combed the cyclone affected areas had never seen nor heard of.
The danger of being left out is not as great as the danger of being nullified. Books that teach you how to be a successful photographer, The ones that teach you the secrets of the trade, teach essentially how to become occidental. Since the person making the most important decisions regarding the usage of a photograph is invariably the person most distant from the event itself, the photographer’s ‘formula’ for producing acceptable pictures is to regurgitate editorial policy regardless of what is observed. That is what the indigenous photographer must produce if he/she is to get ahead. That is what makes them begin to ‘exist.’ The danger therefore, is of becoming a sheep in wolf’s clothing, and eventually of becoming a wolf.
Pretty much all NGOs seem to have the usual ‘income generating activities,’ the savings groups where the villagers gather round in a circle and sign the passbook, the functional education classes where village folk are taught urban middle-class expressions that even in cities only get used in formal situations. Where they are taught “the policeman is your friend…” and they know otherwise. Photographs of the activities of a hundred different NGOs would be largely identical. Where is the training to network that the donor circuit itself thrives on? Where is the emphasis on information technology that allows the richer countries to retain their stranglehold? The poor in these countries have been observed, analyzed and understood, but why have they been built a cell with no exit? Why are entire nations guinea pigs for foreign anthropologists, sociologists, economists and photographers?
In a recent effort by an independent agency to install E-Mail in Bangladesh for setting up an inter-nation and a South-South dialogue, it was discovered that many NGOs already had their own dedicated E-Mail line, but had not offered the service to others, even to other NGOs. Information appears to be a resource that people are very secretive about, access to information something developing countries are selectively denied. The nature of the images representing developing countries is an index of the media control that will prevent developing countries from developing.
A Halloween song sums up some of the attitudes portrayed:
(Sung to the tune of WE THREE KINGS)
We Trick or Treaters in bright costumes are
Asking your help for children afar.
We want no candy But cash is dandy,
Here is our UNICEF jar.
Help the children, in foreign lands,
Shahidul Alam, Dhaka 30th May 1994