On the Lesotho side of the Sani Pass, there is a small Pentecostal church. Siphiwe, the pastor, showed us a traditional homestead and how to wear the traditional Lesotho blankets His wife had prepared some delicious bread in a pan on a cow dung fire. The church was not officially part of this cultural expierence, but we were allowed to look inside as well. Inside we found Siphiwe’s wife washing clothes – the church doubles as the pastor’s house and living room. On the wall there was this mural of a shepherd carrying a sheep. Most of the congregation consists of shepherds who come to the Sani Pass area in summer to graze their sheep. This image of the Good Shepherd clearly touched them. I think it’s a really strong, contextual image of the Gospel!
Recently, National Geographic asked a historian to examine the photographs about Africa and Asia in its archives. “For decades, our coverage was racist”, was the conclusion that made the headline.
The voices of black Africans did not feature in articles, and photographs pictured them in a stereotypical way: doing tribal dances, or staring enthralled at the modern equipment of the photographer. In this way, Africans are (quite literally) portrayed as not on par with the Western reader. They are traditional where the reader is modern; they live in villages instead of cities; they have not reached a Western level of development.
The ways in which Africa and Africans – or, better: Zambians, South Africans, Kenyans, Nigerians, etc. – are portrayed is an issue that receives increasing attention. In National Geographic, the stereotypical African is the ‘noble savage’, someone who is still in touch with nature, with their roots and with the community; unspoiled by the rationalizations, disenchantments and individualization of modernity. Another stereotype is triggered by charities and by media covering disasters. We all know these images: African children with flies crawling on their faces and bellies swollen with hunger oedema.
This image of Africa has been labelled as ‘poverty porn’. People in these photographs are portrayed when they are at their most vulnerable. The objective is to generate pity or sympathy, and subsequently to increase donations to the charity. The donations are for a good cause, but these images keep telling us that Africans need to be saved. They are victims. They are not able to help themselves. In a Ted-talk, Nigerian writer Chimamanda Ngozi Adichie says: “The problem with stereotypes is not that they are untrue, but that they are incomplete. They make one story become the only story.”
There really are pitiable children suffering from famines – photos portraying them are not staged. But there is more to Africa than this. More than noble savages and beautiful nature; and more than suffering victims and “shithole countries”. Photographers, wherever they come from, and whoever pays them, should be aware of the power of their images in enforcing harmful stereotypes.
Why am I writing this? I am an anthropologist and photographer living in southern Africa. It is my aim to picture the people whom I encounter in an honest way. The issues addressed in this blog sometimes make me feel I am traversing a minefield. I hope to use this blog to plot my course, avoiding the pitfalls mentioned here, and reflecting on a number of issues related to imaging (or imagining) Africa.
I love this picture, taken during a play about witchdoctors. This is dr. Koko, and he is eating a snake while the audience scampers away in fear. The purpose of the play was to show how witchdoctors play on fears of their audience, and how they use props such as chemical reactions and rubber snakes to do that. But if you don’t know that background, what you see might well be the image of dark Africa: superstition, backwardness, scary occultism. That’s not the image of Africa that I want to spread. So… lovely picture, but it cannot be used?