The Modernity of Postcolonial Photography

Anthropology of Media ANTH 2301 The Modernity of Postcolonial Photography There has been a notable shift in the field of contemporary media anthropology from the traditional emphasis on the imperial or ethnographic gaze to an investigation of the images created by postcolonial subjects themselves, including the photographers responsible for these images and the complex processes involved in their creation. This nuanced viewpoint seeks to comprehend how people in postcolonial cultures perceive themselves and others via the lens of photography, as well as regional forms of self-representation. This method is best shown by the research of anthropologist Liam Buckley, especially his work from 2000 on studio photography in the Gambia. As part of his research, Buckley conducts in-depth interviews with Gambian photographers and the people they document. This allows him to chart the development of photography trends from the 1950s to the early 2000s. This study demonstrates a notable shift from the 1950s realist photography trend to a more fantastical and inventive style that became fashionable in the 1970s. The realism style of Gambian studio photography in the 1950s was distinguished by the emphasis on accurately capturing the subject's individuality, character, and mood—a trait known as jikko in the region. Because they provide a genuine and true-to-life visual record of the topic, these images were prized for their capacity to capture the soul of the subject. This style of photography was simple and unadorned, emphasising the inherent characteristics of the subject rather than employing accessories or external symbols. Nonetheless, the visual and thematic components of studio photography in the Gambia underwent a significant change beginning in the 1970s. During this time, a more complex and inventive style began to emerge, with the focus shifting from portraying personal jikko to producing images that expressed jamano, or a sense of change and novelty in fashion. Extensive studio backgrounds and a wide range of items representing modernism, leisure, and cosmopolitanism were used to create this new look. These backgrounds frequently showed pictures of contemporary metropolitan life and international travel, enabling respondents to situate themselves in circumstances that were idealistic and extremely different from their day-to-day experiences. Particularly the younger generation of Gambians loved this new kind of portraiture, frequently opting to have their photos taken in environments that included a variety of contemporary electronics, like radios, TVs, and open refrigerators full of delectable foods and refreshing drinks. Collectively known as juuntuwaay, these props served as important markers of wealth and modernity in addition to being ornamental components. Seeing scenes of boarding an aeroplane or travelling to faraway countries was another common backdrop, which added to the aspirational quality of these pictures. Young people utilised these staged photos to "complete" themselves, creating a visual identity that conveyed advancement and desire. In Gambian studio photography, the transition from jikko to jamano represents larger social and cultural shifts. It demonstrates how people may use photography as a tool to negotiate and traverse their identities in a world that is changing quickly. The creative photos of the latter decades allowed people to project an aspirational self, one that was in line with their ambitions and desires for the future, in contrast to the realism images of the 1950s, which concentrated on capturing and maintaining the actual self. This shift in photography methods highlights how identities are formed dynamically and how visual culture shapes and articulates individual and group goals. The significance of taking into account the local environment when comprehending the creation and reception of photographic pictures is emphasised by Buckley's research. The development of studio photography in the Gambia is closely linked to more significant social, economic, and cultural shifts rather than just reflecting shifting aesthetic choices. Using photography as a vehicle to affirm their presence in a society that was increasingly globalising, Gambians were interacting with global discourses of modernity and progress as they embraced new forms of visual expression. Additionally, the Gambian photographic notion of juuntuwaay illustrates how innovative and purposeful local self-representation methods may be. People were able to create identities that went beyond their particular circumstances and connected with more general stories of success and modernity by utilising backgrounds and props that represented wealth and modernity. This approach challenges the frequently one-dimensional images imposed by outside observers and emphasises the agency of postcolonial subjects in creating their own visual narratives. In conclusion, research on modern photography practices among postcolonial subjects, such as that conducted in the Gambia by Liam Buckley, provides important insights into the intricate processes involved in the construction of identity and self-representation. Media anthropologists may reveal the complex ways in which visual culture mediates individual and societal goals by concentrating on the pictures taken by regional photographers and the ways in which people interact with these pictures. The change in Gambian studio photography from jikko to jamano emphasises the dynamic interaction between regional and international influences and shows how photography is an effective tool for navigating identity and planning for the future. As a result, studying postcolonial photography broadens our perspective on visual culture and offers a prism through which to examine the larger social and cultural changes reshaping modern nations.