Categories
multimedia

Laygate Stories: a new multimedia project

 

Laygate Stories’ is a multimedia project that portrays, in their own voices, the lives of those living and working in the Laygate area of South Shields on Tyneside, in the north-east of England.

Creating new visual stories excites me, and its a pleasure to again be working collaboratively with Peter Fryer on this project, which is part of an Arts Council England funded commission (‘Homelands’) organised by the Side Gallery in Newcastle. Peter undertakes the photography, I take the lead on the audio and the technical aspects of production, and together we edit the pictures and sound into a ‘photo film’.

The work is centred on the diverse community along Frederick St and the Laygate area. This is a vibrant area made up of indigenous north-easterners, a long-established Yemeni community – who were once migrants but now includes second and third generation British citizens – as well as people from Angola, Bangladesh, the Congo, Iran, Jordan, Palestine, Poland and Somalia.

Through existing contacts and friendships within the community, we are documenting the daily interactions of the different social groups that constitute this community. The work does not profess to be an all-encompassing overview of the area but uses short photo-films to give people a platform to express their everyday thoughts, feelings and concerns, and to reflect on their place within the community.

This project builds on our earlier work in this area, especially the ten-minute photo film ‘The Boarding House‘. It is also inspired by The New York Times One in 8 Million‘ project, which uses sound and images to introduce characters in that city. Their purpose was to showcase “ordinary people telling extraordinary stories, of passions and problems, relationships and routines, vocations and obsessions.”

We have endeavoured to show the everyday, believing that this gives an insight into the extraordinary things people have to offer and the different histories they have to tell. We have also ensured that those who volunteered to speak are involved in the way their stories are produced.

We begin with four stories. Over the next year we will be adding more from this diverse community as the work progresses. As individual pieces they offer insights rather than a developed narrative, but we hope that once we have a dozen or so portraits available the cumulative effect will be the story of a community.

We are grateful to the Side Gallery and the Arts Council England for support. We hope you enjoy the first instalment, which is available on the project site at www.laygatestories.com.

 

Categories
photography politics

Who’s afraid of home? Photojournalism’s foreign fixation

The US presidential election began this week. Although polling day is still 18 months away, yesterdays Republican candidates’ debate in New Hampshire marks the start of the race.

As ever, the economy, jobs, healthcare and education will be key issues, with more people worried about these than war. In Britain, along with immigration and multiculturalism, the picture is pretty much the same, which is not surprising given we face an ideological government savaging public services.

Which got me wondering – what does photojournalism contribute to these debates? Beyond the daily campaign picture and stock political portrait, what stories are we seeing from photojournalists and documentary photographers that engage these issues? My sense is not much, and certainly not enough.

Photojournalism has long been fixated on the foreign. Check out the web sites of major agencies like Magnum, VII, Panos and Noor and you will see that in the featured stories domestic concerns are a minority interest (though LUCEO is perhaps an exception to this). I’ve done a back-of-the-envelope calculation of the ‘Features and essays’ in Mikko Takkunen’s excellent Photojournalism Links, and over the last month foreign stories outnumber domestic ones by a ratio of 3:1. All this confirms Stephen Mayes 2009 statement that photojournalism is now more romantic – meaning “heroic, adventurous, remote, mysterious or idealized” – than functional, and supports Asim Rafiqui’s claim that we face a “strange silence of the conscience” whereby the “hollowing out” of our societies is under-recorded.

Of course, all generalizations are dangerous (even this one). What counts as ‘home’ is linked in part to personal identity, so, given the preponderance of American and European photographers in the industry, I’m thinking of the minority world as ‘home’ and the majority world as ‘foreign’.

It is also the case that in a globalized and interdependent world, the distinction between ‘foreign’ and ‘domestic’ is far from clear-cut. Many stories cut across borders. Even war is not something that occurs only beyond the water’s edge. When Nina Berman, Edmund Clark and Ashley Gilbertson show the impact of conflict on the home front, it is not easy to locate their work on one side or other of the international boundary.

There are also a number photographers working in domestic space on social issues. Recent examples from the UK include Liz Hingley’s ‘Under Gods’, Liz Lock and Mishka Henner’s Borderland and Hinterland, George Georgiou’s Curry and Chips, my multimedia partner Peter Fryer’s work in South Shields, and of course Amber/Side’s long history of documenting the north east of England. On emphas.is (although still a minority) the recent US-based projects of Matt Eich, Aaron Huey and Justin Maxton would count as domestic. The ongoing projects of Anthony Suau and Matt Black (highlighted by Asim Rafiqui) are impressive, and no doubt readers can (and should) add others.

And yet so much more is needed. It’s best illustrated by one of my all-time favourite multimedia pieces, Evan Vucci’s 2009 story “Faces of the Uninsured.” It tells the story of working Americans who cannot afford health care and must travel long distances to access the services of Remote Area Medical, an NGO that once focused on aid to “the Third World” but now concentrates on the US (17 of their 21 missions in 2011 are in America). Vucci’s story is an under-stated but shocking presentation of a domestic issue.

Given that the Republicans scorn Obama’s modest health care reforms as ‘socialism’ there is ample reason for a humanist tradition of photography to engage this issue alone. Initiatives like Facing Change: Documenting America and American Poverty.org show promising signs of movement on other related concerns. I’m not suggesting people walk away from the important international stories. But surely there are more than enough visual storytellers for many lenses to be turned towards home.

Photo credit: A discarded kitchen appliances sits in one of many fields surrounding the Hattersley Estate. Copyright Liz Lock & Mishka Henner, 2006.