The politics of representation and empowerment

by participatoryphoto

“Participatory photography places the medium of the camera into the hands of learners to democratise the image-making dynamic and give them the power to show and speak their own realities.” (Clover DE 2006, p.275)

The practice of documentary photography and photojournalism has been criticised on the grounds of inequality of power and problems with the politics of representation. Whilst doing my MA I have had many discussions on this topic and the baggage that all imagery comes with. Who are images for? What do they do to the subject, the photographer and society itself? Many documentary photographs and films exist where the voice of the subject seems often objectified or silenced. I have become concerned with the exploitative nature of this practice and ways in which it can be overcome. An increasingly popular technique is that of participatory photography, allowing participants the opportunity to feel empowered and represent themselves. This in itself is challenging, as participants may not be aware of the visual currency of such imagery. As Evans (2001) states; we should be wary of claims of seeing clearly as these are always entangled in power relations and frameworks that regulate the relationship of seeing to knowing. Visual methodology is based on the interpretation of the meaning of images, both by the creator of the image and the viewer (Rose, 2001).

What makes participatory photography empowering to participants?

“In particular, the projects provided new ways of seeing and speaking in public, promoted activism or possibly helped inform policy, and addressed in unique ways the dichotomies of the disadvantaged. But for the participants, the process of being and becoming artists in their own right was probably the most empowering of all.” (Clover DE 2006, p.284)

I hope to address this question of what makes participatory photography empowering in some of the interviews and case studies I present throughout this blog. From my own experience, these projects enable participants to speak about issues that are discussed globally, seemingly by everyone else other than those affected. This is the participatory approach which can encompass many different forms and mediums. The photography element allows these voices to be communicated in a visual and stimulating way. “In many ways, the art of photography is the art of seeing, and its effectiveness depends on the strength and integrity of this seeing.”  (Clover DE 2006, p.284)

This process can also empower photographers to be activist artists and creatively address social issues they are concerned about. Most photojournalists will already have a disposition to communicate global issues and current affairs in a visual way and participatory practice could be seen as an extension of this.

“Creativity and imagination cannot be taught or commanded. They can only be nurtured in a fostering environment. Participatory photography combines a practical, informative image and a poetic, subjective image. It is a vibrant form of transformative, imaginative learning and visual narrative because it demands creativity, risk, and skill from its artists. It also has an ability to nurture individuality and respect anonymity while creating powerful, collective public artwork.” (Clover DE 2006, p.289)

Bibliography
Evans, J. (2001). Photograph. In R. Carson & C. Pajaczkowska (Eds.), Feminist visual culture (pp. 105-122). New York: Routledge.

Clover DE (2006) Out of the dark room: participatory photography as a critical, imaginative, and public aesthetic practice of transformative education. Journal of Transformative Education 4: 275-290

Rose, G. (2001). Visual methodologies. An Introduction to the Interpretation of Visual Materials. London: Sage.