Imaging famine: How critique can help
What is the point of critique, and how can it help produce better visual stories?
According to Jonathan Jones (writing in the Guardian on 22 July
) all the sophisticated critiques of photojournalism are pointless when it comes to picturing famine:
It seems shocking that commentators…wasted their breath on the ethics of a photograph instead of urging action to deal with the suffering it showed. The fact that people far away can see with visceral immediacy the facts of a crisis like the one now hitting the Horn of Africa is one of the most optimistic aspects of the modern world. Consciences are awakened by the camera.
Jones’s own critique is simplistic – either you see or you don’t, visibility is better than blindness, and images provoke conscience. The last point demands more consideration, but in casting the issue in terms of a simple either/or proposition of seeing or not seeing, Jones misses the big picture. The issue is HOW we see, what effect does a particular way of seeing have on our understanding of the issue, and how might we see more effectively?
I’ve been debating related issues with Jon Levy
, and yesterday we participated in a productive OPEN-i forum
that revealed both much common ground and some continuing differences. As a result I wanted to set out a series of propositions that encapsulate my thinking on how we can contribute to a better visual account of famine.
1. Critique is not negative, and does not involve blaming photographers.
A critique is an intervention in established modes of action and thought. Such interventions try and disturb those practices which are settled, untie what appears to be sown up, and render as produced that which claims to be natural. There is an ethical imperative behind such interventions, a desire to open up possibilities being foreclosed or suppressed by that which exists. Intervening involves a questioning of what is established, that questioning follows from a concern or dissatisfaction with what is settled and appears inevitable, and creates the possibility for the formulation of alternatives. We can’t know where we are going unless we understand where we are now and how we got here. And although discussion necessarily proceeds through examples of particular images by individual photographers, it is not about accusing practitioners of bad faith.
2. There is no distinction between an event and its representation.
The reason we begin photographic critique with images, the individuals who make them and the institutions that distribute them is because they offer a way into thinking about the visual economy through which a disaster like famine is made real for the majority of people. Few if any of us have direct experience of disasters, so we necessarily rely on mediated knowledge. That means our reality comes through representation. NGO officials understand this. As Don Redding once observed, “the construction of the event (the humanitarian emergency) becomes
the event – for the purposes of public opinion and policy flow.” To engage the event, and how we should respond to the event, demands an analysis of the event’s representation (some of which is discussed in posts reflecting on recent photographic
and broadcast coverage
3. Famine is made real through a particular visual tradition, and we continue to see it.
The 2003 cover of the New York Times magazine above, with 36 portraits of malnourished children from dozens of different countries over a 50-year period, illustrates the dominant way of representing this sort of disaster. It has been common from the nineteenth century, as we showed in the 2005 Imaging Famine exhibition
In the current picture galleries from East Africa, we see much of the same (see here
). There has been little if any evolution in the way famine is represented. The problem is that these images individualise an economic and political issue, and focus our attention on passive victims awaiting external assistance.
In the OPEN-i debate Jon argued that these photographs “show you what’s going on.” I think that the stereotypes are politically necessary in certain contexts
, and it’s possible to make a case for their use, as Tyler Hicks
and Bill Keller
of the New York Times have done. But the major problem is that the stereotypes do not show us what is going on
. They show us only the end of a process. They show only the final, fatal stages of food insecurity. Most of the issue remains obscured by their continual reproduction.
4. Famine is not a natural disaster, and photography needs to get to grips with this.
While the fact East Africa is suffering the worst drought in 60 years provided the hook for most recent coverage, the disaster is not natural. Indeed, few if any disasters these days are natural. When an earthquake of the same magnitude kills hundreds of thousands in Haiti, but less than a hundred in San Francisco, the differing death toll is not simply a result of the earth moving.
According to the World Bank’s lead economist for Kenya, Wolfgang Fengler, “this crisis is manmade…Droughts have occurred over and again, but you need bad policymaking for that to lead to a famine
Famines, paradoxically, are also not simply the result of food shortages. As Cambridge lecturer David Nally observes
, during the Irish famine food exports continued while people starved, and Bengal in 1943 (memorably recorded by Werner Bischof
) saw hundreds of thousands perish even though that part of India had its biggest rice harvest ever:
The historical study of famine shows that the people of countries that are nominally resource-rich can starve because those resources are extracted to meet the needs of a global economy rather than the nutritional needs of local populations. The recent use of African land to grow crops for biofuels is particularly instructive: filling the tank of a sport utility vehicle, for instance, uses 450 lbs of corn – enough food to feed one person for an entire year. Thus policies designed to enhance the ‘food and energy security’ of relatively affluent places, such as Europe, can compromise the security of peoples in Africa. Today, as in the nineteenth century, life and death decisions of a terrifying scale are woven in the fabric of international economic relations.
These issues cannot be encapsulated within a single photographic frame, and representing them in their complexity is not simply photography’s responsibility. But I don’t see any examples from the current crisis in East Africa that even gestures towards these larger issues. Of course, correct me if I am wrong.
5. What now?
With more than 12 million people in urgent need of humanitarian assistance, and some areas of Somali having more than 40% of children under five suffering from acute malnutrition, their situation has to be pictured.
But, as with the coverage of Japan, Egypt and Libya this year
, East Africa is being covered by a relatively large number of excellent photographers that surely means there is scope for someone to do something different. Do all of them have to go to Banadir hospital in Mogadishu to photograph fly blown, emaciated children? Could not some of them record audio as well as shoot photos so we can hear from the people affected? Can’t their editors push for alternatives and offer greater support to achieve them? Is it beyond our collective capacity to follow the leads from critical questioning and see what’s really going on with famine?