Clpa News2019

2019 CLPA NEWS #02 IN THIS ISSUE Feature: Gender binaries in African photography Reflections on Identity Member interview: Diogo Bento ©AOJE, Catchupa Factory Residency Factory 2019 Catchupa ©AOJE, CONTRIBUTORS Dakar, Senegal JULY 2019 National School of CONTRIBUTORS: CLPA members Arts (ENA) EDITORS: John Fleetwood & Amy Daniels, Photo: ([email protected]) Addis Ababa, Ethiopia Center for Photography in Ethiopia (CPE) Mindelo, Cabo Verde Associação AOJE Co-founded and funded by the Goethe-Institut South Africa Lagos, Nigeria CLPA News is a newsletter made up from Bamako, Mali The Nlele contributions of the CLPA members. The Yamarou-Photo Institute (TNI) Editors hold no responsibility or liability for the accuracy of the provided content. JawMali-EPP EXTERNAL CONTRIBUTOR: Aude Mgba TRANSLATOR: Patricia Yumba (House of Nzinga) PROOF READER: Sibongile Shope Johannesburg, South Africa DESIGN: Karien van der Westhuizen Photo: GUEST EDITOR: Market Photo Workshop Uche Okpa-Iroha CLPA NEWS 2019#2 2 FEATURE: GENDER BINARIES Addressing the issue of gender through the lens of photography Gender can be a delicate exercise when one knows that the look of an image may vary according to the binaries viewer. The debate on gender is a major topic of discussion in the in African world today, but on the continent, it still seems preliminary even though Africa is home to several photography formerly matrilineal societies. As a result, there have been various movements by the so-called By Aude Mgba “feminine” gender to fight for equality and justice in a world that has become more and more patriarchal and capitalist since colonization. In 2004, the writer and musician Koppo released the hit Emma, that talks about his adventures in the city of Yaoundé as he decided to flirt with someone who appeared to be a very attractive lady. Bringing her back home at night, he discovered that the beautiful Emma was in Leo, very spiritual and passionate fact intersex: she had a woman’s body with male genitalia. This was a about astrology, has situation that the society in which I grew up was not used to talking in her place a fortress about because it appeared obvious that an individual’s identity was of memories where defined by their sex: you were either a man or a woman. The conscious it is protected by a or subconscious notion of what makes a man and woman determines guard and pebbles. the modes of behaviours, lifestyles, as well as ways of dressing. This Everything in her specific structure that only recognizes these two genders has had body and her room consequences in the distribution of social roles, often reflected in has a meaning. photographic practice. ©Kitty Blunt CLPA NEWS 2019#2 3 ©Kitty Blunt FEATURE: GENDER BINARIES (CONTINUED) Before the 50s and 60s, although photography was practiced a radical change in this split between man and woman and Before the 50s by a good number of artists on the continent, it was mainly all the stereotypes attributed to them. Artists distorted the influenced by the Western view of society: an exoticized, heteronormative gaze by playing with cultural codes through and 60s, although anthropological and touristic gaze. Naked women in groups composition, set design, the models’ poses and clothes. In often accompanied by children would pose in front of huts society, we find evidence of contradictory representations of or in the kitchen, while men with bare torsos and pronounced gender where boys wear skirts or dresses in the same contexts photography was muscles would have tools of labour. After independence studio that favour gender division, such as church. Simultaneously, photography was born and was particularly dominated by photographers are taking a stand on such issues through practiced by a good portraits, which facilitated the reading and decoding of pictures. self-portraits and composite imaging. The photo series by Gender roles were constructed and made easily perceptible Samuel Fosso, often called the “Man of a Thousand Faces”, plays number of artists on through composition. Women would portray the role of mother, a lot with traditional paradigms of identity as predefined by girl, future wife, or bride. Even accessories informed the clear societal constructions of gender. Through his self-portraits, he explores the instability of identity by demonstrating the the continent, it was division that existed between men and women. Necklaces, constant transformation of gender and sexuality. In his photo, bracelets, earrings and large dresses usually completely covered La Bourgeoise (1997), Samuel plays with his own body. by the bodies of women, unlike the lightness and openness of mainly influenced presenting himself in the body of a ‘woman’ who took possession clothing for men. Moreover, the sets and backgrounds were of his male body with a beauty so striking represented by attire, generally saturated for women. The work by Malick Sidibé, by the Western accessories, makeup and posture. Déjà Futurs Amoureux (1976), portrays two children, a boy and a girl, and how their genders play a central role in defining Aude Christel Mgba is an independent curator based in Amsterdam, view of society: their individual futures in society. The closed studio space recently a participant of the curatorial programme De Appel also became a place of intimacy between the model and 2018/19. In 2017, Aude assisted Cécile Bourne-Farrell for SUD2017, an exoticized, photographer. Although this was rare, some models offered an international triennial of public art organized by Doual’art for themselves the freedom to break social norms. The of full-length the city of Douala. Perpetuate the links between the contemporary portrait by Sidibé of two young women dressed in pants and and the past through collaborations between artists, researchers, anthropological posing with cigarettes in hand is a good example. writers and craftsmen, she revaluates the “decolonial thoughts” of the contemporary world. Very attached to ancestral values that have and touristic gaze. In the 70s and 80s, when photography was also expressed sprung from geographical antipodes, she tends to create connections outside the studio, several photographers’ work presented between past, present and future. CLPA NEWS 2019#2 5 REFLECTIONS ON IDENTITY Reflections on identity ASSOCIAÇÃO AOJE For whom are we photographing identity? When photographing notions of identity, we speak about For everyone willing to take a deep, critical and lingering gaze at systematic exclusion and the idea of identity becomes much Many photographers are working on notions of identity more vocal and political. Photography can be the medium to and representation of identity. How do you approach photographs. identify, question and even resist or act against an unjust system. and navigate these ideas in photography learning? How can an effective photography curriculum (and We haven’t approached identity or representation of identity photography training institutions) in various African For whom are we photographing identity? explicitly in our learning programs (except maybe when showing countries promote the teaching and understanding of I understand that it is specific to the photographer and the references or examples of photography work to students). the subject of identity and representation? context within or wherein the photographer negotiates their By this, I mean we’re not imposing on anyone to work on the This can be achieved through the understanding of the role and space. The identity issues and representation in Kenya may or subject if they are not comfortable to do so. But what is crucial is place of photography (and visual culture) in our societies. We can may not resonate with that of Ethiopia even though both are the way we engage students and/or guide them into exploring educate young practitioners to take the best photography has to located in East Africa. Or the identity we refer to as being African issues of contemporary relevance through photography. The offer and to use it for the benefit of future generations. might be a notion that is shared with many on the continent. I important thing is to lead young photographers into thinking would like to think the first audience for photographing identity about their own environment which will eventually create CENTER FOR PHOTOGRAPHY IN ETHIOPIA (CPE) would be the community. That is the focal point by which all the awareness on contemporary issues. They can thereafter explore meanings and the contexts gravitates to make sense to both the the things that matter to them as active and curious citizens. Many photographers are working on notions of identity photographer and the viewing public. and representation of identity. How do you approach How can photographing notions of identity act as a way and navigate these ideas in photography learning? to address systematic exclusions of certain identities in How can an effective photography curriculum (and our histories? CPE supports photographers to work on projects that are photography training institutions) in various African important to them. We approach identity through elements countries promote the teaching and understanding of Photography acts both on the visible as well as on the invisible such as history, memory, archives and current experiences. the subject of identity and representation? level. What is not seen through photography will continue Photographers use self-portraiture, documentary or conceptual to be rendered as invisible. Photography has the power to An effective curriculum can breakdown the complexity of forms as a tool to navigate through the identity questions they bring subjects to the forefront, although there are always very identity and improve critical thinking among students. It want to raise or present. important considerations and concerns to be taken into account provides students with insight and understandings of identity, when doing so. In this regard, context is crucial, and it is up to How can photographing notions of identity act as a way what forms it and what continues to emanate from it.

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