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Gordon Parks: Renaissance Man of Civil Rights Activist? De Rol Van Ras in Het Werk Van Gordon Parks

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Gordon Parks: Renaissance Man of Civil Rights Activist? De Rol Van Ras in Het Werk Van Gordon Parks Gordon Parks: Renaissance Man of Civil Rights activist? De rol van ras in het werk van Gordon Parks Toine van der Lingen Scriptie Taal- en Cultuurstudies Hoofdrichting: Moderne Kunst, Cultuur en Geschiedenis Toine van der Lingen 3672980 Begeleider: Rutger van der Hoeven Universiteit Utrecht Inhoudsopgave Inleiding: _____________________________________________________________________ 3- 6 Hoofdstuk 1: _________________________________________________________________ 7 - 8 Hoofdstuk 2: _________________________________________________________________ 9 - 24 Hoofdstuk 3: _________________________________________________________________25 - 26 Hoofdstuk 4: _________________________________________________________________27 - 35 Conclusie: ____________________________________________________________________36 - 37 Bibliografie:__________________________________________________________________38 - 41 2 Inleiding Gordon Parks was one of the seminal figures of twentieth century photography. A humanitarian with a deep commitment to social justice, he left behind a body of work that documents many of the most important aspects of American culture from the early 1940s up until his death in 2006, with a focus on race relation, poverty, Civil Rights, and urban life.1 – Dr. Henry Louis Gates Bovenstaande woorden zijn opgeschreven door Henry Louis Gates, directeur van het W.E.B Du Bois Research Center for African American Research aan de universiteit van Harvard. Gates noemt Gordon Parks de belangrijkste zwarte fotograaf in de geschiedenis van fotojournalistiek. De redenen om iets dergelijks te stellen zijn talrijk: Parks was de eerste Afro Amerikaan die als fotojournalist en schrijver voor Life Magazine werkte2; hij was de eerste zwarte regisseur van een grote Hollywood- productie3; en is houder van meer dan 20 eredoctoraten.4 Toen Parks in 2006 overleed, wijdden veel kranten en tijdschriften een necrologie aan hem. In de necrologieën gingen de auteurs voornamelijk in op de veelzijdigheid en de artistieke waarde van Parks’ oeuvre. De sociale waarde en de rol van ras in zijn werken werden nauwelijks besproken. Parks werd voornamelijk afgeschilderd als een renaissance man, die uitblonk met zijn vele artistieke talenten.5 Tijdens verschillende exposities in 2012 ter ere van Parks’ geboorte een eeuw daarvoor, werd juist de nadruk gelegd op het raciaal activisme van zijn werk. In samenwerking met de door Parks zelf opgerichte Gordon Parks Foundation, organiseerden galerieën in verschillende steden exposities ter ere van zijn fotografie- oeuvre. Bij al deze tentoonstellingen lag de nadruk sterk op Parks’ werken waarin ras een grote rol speelt. In de beschrijvingen van de exposities werd Parks voornamelijk als 1 The Gordon Parks Foundation. "Biography." Accessed August 3, 2014. http://www.gordonparksfoundation.org/biography/. 2 The Gordon Parks Foundation. "Biography." Accessed August 3, 2014. http://www.gordonparksfoundation.org/biography/. 3 Estrin, J., A gift to New York from Gordon Parks, 17 mei 2012 4 Bevestigd in onder andere: http://www.gordonparksfoundation.org/biography/, Milton Moskowitz ‘Gordon Parks: A man for all seasons’, The Journal of Blacks in Higher Education, No. 40 (Summer, 2003), pp. 102-104, David Peck, ‘American Ethnic Writers’, p. 899., A diploma at last for Gordon Parks. By: Boyd, Herb, New York Amsterdam News, 00287121, 7/24/2003, Vol. 94, Issue 30. 5 David Peck, American Ethnic Writers, p. 869, Milton Moskowitz ‘Gordon Parks: A man for all seasons’, The Journal of Blacks in Higher Education, No. 40 (Summer, 2003), pp. 102-104 3 iemand die streed voor de Civil Rights Movement neergezet.6 Parks werd getypeerd als “A documentarian and resolute advocate for the civil rights movement, Parks’s photographs bore witness to the collective efforts of Black public figures, politicians, and ordinary Americans for civil rights.”7 Het feit dat Parks naast foto’s ook nog films maakte, poëzie schreef en muziek componeerde, wordt in de meeste beschrijvingen slechts kort aangekaart.8 Zodoende dragen deze tentoonstellingen bij aan het collectieve geheugen waarin Parks wordt herinnerd door zijn werk over racisme, armoede en rassen- relaties. Er is dus een duidelijke tegenstelling aanwezig in hoe Parks vlak na zijn dood (2006) en op zijn 100e verjaardag (2012) wordt herinnerd. Het lijkt hierbij alsof een bespreking van Parks’ complete oeuvre enerzijds en een bespreking van Parks’ ras gerelateerde werken anderzijds elkaar uitsluiten. In de huidige collectieve herinnering wordt Parks voornamelijk met de Civil Rights Movement in verband gebracht. Dit lijkt echter vooral te komen door de foto’s die Parks voor Life Magazine tussen 1948 en 1971 maakte.9 Over de rol van ras in de rest van Parks’ werken wordt zowel in de necrologieën als de expositiebeschrijvingen niet gesproken. In deze scriptie wordt die rol van ras in de rest van Parks’ oeuvre onderzocht. De hoofdvraag luidt: ‘Wat is de rol van ras in de werken die Gordon Parks tussen 1948 en 1971 maakte? Er is specifiek voor deze periode gekozen omdat Parks tussen 1948 en 1971 niet alleen voor Life Magazine werkte, maar ook alle werken maakte waarnaar werd gerefereerd in alle necrologieën en expositiebeschrijvingen.10 Daarnaast is belangrijk om op te merken dat in deze periode de Civil Rights Movement en daarna de Black Power Movement opbloeiden in Amerika. Vanaf de jaren ’50 zetten verschillende burgerrechtenactivisten zich in tegen discriminerende regels in Amerika.11 In de jaren ’60 resulteerde het collectieve protest tegen racisme uiteindelijk 6 http://www.icp.org/museum/exhibitions/gordon-parks-100-years, http://moadsf.org/exhibits/?id=36. Ook de andere artikelen benoemen Parks toewijding aan de civil rights movement en zijn gevecht tegen armoede en geweld in de Amerikaanse getto’s. 7 Museum of the African Diaspora. "Museum of the African Diaspora :: Exhibits." Accessed August 3, 2014. http://moadsf.org/exhibits/?id=36. 8 In de artikelen van onder andere de Navo Scotia Bank en The Museum of African Diaspora wordt in de eerste of laatste alinea een korte notie gemaakt van Parks’ brede oeuvre. In de artikelen van the New Orleans Museum of Art en the International center of Photography wordt het nergens genoemd. 9 Parks werkte tussen 1948 en 1971 voor Life Magazine. 10 In geen enkele necrologie of expositiebeschrijving wordt werk van Parks genoemd dat hij voor 1948 of na 1971 maakte. 11 Chong, Dennis. Collective Action and the Civil Rights Movement. Chicago: University of Chicago Press, 1991. P. 102. 4 in de Civil Rights Act of 1964.12 In de late jaren ’60 en begin jaren ’70 ontstond de Black Power Movement. In plaats van integratie en gelijkheid lag bij deze beweging de nadruk op zwarte trots en zelfbeschikking voor zwarten.13 Deze ontwikkelingen worden bij het beantwoorden van de deelvragen betrokken om te bepalen in hoeverre Parks hierdoor werd beïnvloed. Om de hoofdvraag te beantwoorden worden eerst drie deelvragen behandeld. Deze vragen worden voorafgegaan door een korte biografie van Parks, waarin duidelijk wordt gemaakt waarom ras een belangrijk en persoonlijk onderwerp was voor Parks. Voor het beantwoorden van de eerste deelvraag wordt gekeken naar de foto’s die Parks heeft gemaakt en de artikelen die hij heeft geschreven voor Life Magazine. Er wordt eerst gekeken in hoeveel foto’s en artikelen ras überhaupt een rol speelt. Daarna wordt bepaald wat die rol precies is. Dit wordt ten eerste gedaan aan de hand van een eigen analyse van de foto’s en een analyse van de context waarin ze zijn geplaatst. De artikelen die de foto’s begeleiden zijn worden dus samen met de beelden geanalyseerd. Vervolgens wordt er literatuuronderzoek gedaan: er wordt nagegaan wat Parks over zijn eigen werk zegt en wat academici erover zeggen. Voor het beantwoorden van de tweede deelvraag wordt gekeken naar de dichtbundels van Parks. In deze bundels worden er gedichten samen met foto’s gepresenteerd. Hier wordt ook gekeken in hoeveel gedichten en foto’s ras een rol speelt. Daarna wordt bepaald wat die rol precies is. Dit wordt bepaald aan de hand van een eigen analyse van de gedichten en foto’s. Er is voor een dergelijke analyse gekozen omdat er geen secundaire literatuur beschikbaar is over deze dichtbundels. Voor het beantwoorden van de derde deelvraag wordt gekeken naar twee films die Gordon Parks tussen 1948 en 1971 maakte. Parks heeft meerdere films gemaakt, maar de twee onderzochte films maakte hij voor grote Hollywoodmaatschappijen, waardoor een ze groter publiek hebben gekregen dan zijn andere films en meer in het collectieve geheugen liggen.14 Daarnaast is er juist naar deze twee films veel secundair 12 Chong, Dennis. Collective Action and the Civil Rights Movement. Chicago: University of Chicago Press, 1991. P. 193. 13 Scott, Joseph W. The Black Revolts: Racial Stratification in the U.S.A. : the Politics of Estate, Caste, and Class in the American Society. Cambridge, Mass: Schenkman Pub. Co, 1976. P. 91. 14 IMDB. "Gordon Parks - Biography." IMDb. Accessed August 16, 2014. http://www.imdb.com/name/nm0662953/bio?ref_=nm_ov_bio_sm. Shaft was een groot commerciëel success, The Learning Tree is zelfs in het National Film Registry of all Time opgenomen. 5 onderzoek gedaan. Daarom is het interessant om de rol van ras in deze twee films te onderzoeken. Deze rol wordt bepaald aan de hand van een eigen analyse van de films in combinatie met secundaire literatuur over de films. Er zal gekeken worden naar de manier waarop de verhaallijn en beelden boodschappen over ras aan het publiek overbrengen. Omdat
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