I’ve worked in Angola a couple of times and was always shocked at the disparity.  I had, until I looked back at these images, forgotten spending an hour watching Dasilio and his mate fruitlessly begging rich Luandans for small change. I had forgotten the smell inside the tent of Bule’s eye, hanging by a thread, rotten and useless in his head. I had forgotten Engracia sitting in the ruins of her home, destroyed illegally by property developers. I had forgotten the harsh light and the long shadows. Shame on me for forgetting.

My few good memories come, as they often do, by listening to the music on the streets. A decade ago I discovered the delightfully named Bonga via a very talkative taxi driver in the city. That led me in search of saudade – a very difficult Portuguese word that translates roughly as a longing for something lost: a melancholy. You can hear it in the husky Morna of Cesária Évora and you can certainly hear it in the Fado of Carlos do Carmo. You can hear it on the breaking Atlantic waves whispering along the shore of the Marginal where both the rich and poor promenade – but for different reasons…

Here are some images.

Angola - Luanda - A street boy stands in front of a poster of Agostinho Neto, a hero of the Angolan revolution

Angola - Luanda - Two friends, Bule Manuel (r) from Uige and Joachim from Huambo live together in a tented camp for Internally displaced persons (IDP's) just outside of Luanda, in Viana. Both have lost their sight due to the war and Bule's eye is rotten in it's socket. The two men care for each other as best they can

Angola - Luanda - Engracia Lourenco in the ruins of her home in a middle-class suburb known as Golfe 2. In December 2002, men, presumably from the government forcibly demolished privately owned homes on this land. The land titles legally held by the occupants were ignored.

Angola - Luanda - A man walks through a shaft of sunlight on a Luandan street

Angola - Luanda - A woman works herself to a religious frenzy during an evangelical service in the Prenda slum

Angola - Luanda - Dasilio and his friend, both injured during the Civil War, beg from wealthy Luandans

Angola - Luanda - Wealthy Luandans dance the night away at Xavaroti's nightclub in the Vila Alice area of Luanda.

In it, Linfield attempts to refute the argument that engagement with violent imagery makes the reader turn away. She argues that only by engaging with photojournalism and it’s unsettling commitment to documenting atrocity can we understand the world. It is an interesting time to take this line. Modern photojournalism has in the last few years, experienced a bleeding-into from the art world. I’ve written before about a cold un-connectedness that portrays people as butterflies under glass: a seeing that examines every facial detail but tells us nothing about context or the subject’s humaness. Linfield uses the example of Nachtwey, Peress and Capa in what I see as an unabashed attempt to reassert a traditional documentarian’s engaged position against the argument that all journalism of this kind is voyeuristic. Despite my work being included here, I do have reservations about documenting atrocity, but maybe the pendulum has swung far enough the other way: our sanitised, modern media tells us that only celebrity and money and excess are important. What happens over there is just not understandable. Linfield says that it is and it must be. Photojournalism is in need of a defender who can reclaim a moral relevance against Postmodern criticism that has done much to discredit the voracity of photography. We should not “drown in bathos or sentimentality,” Linfield says but “integrate emotion into the experience of looking.” We “can use emotion as an inspiration to analysis rather than foment an eternal war between the two.”

A few years ago, I was commissioned by Positive Lives to spend a month on the Rwandan/Burundian border looking at the lives of those affected. The Rwandan government had made great strides in their efforts to get people tested and educated about the risks but crucially about how to live and cope with the illness. The work won the Amnesty International Award in 2006.

As I said at the time, it seemed to me that the Rwandese, packed tightly into their borders, had learned the real meaning of forgiveness and acceptance.

Rwanda - Kibileze - Saidi Ruhimbana (40) comforts his wife Anastasie Hwamerera (40). Both have AIDS but Anastasie is very sick. In order to pay for medicine for their treatment they have spent their savings and taken some of their children out of school. Saidi was formerly a builder but is now too weak to lift anything heavy

Rwanda - Kibileze - Theogene Niyongana gives a lecture on HIV and AIDS to a group of people waiting to be tested for the virus at Kibayi Health Centre. By addressing their status, sufferers learn how to increase their life expectancy.

Rwanda - Kibayi - A woman receives her AIDS test result with shock at Kibayi Health Centre. The result is 'undetermined' which means she will have to be re-tested

Rwanda - Kibileze - A woman is given the results of her HIV test at Kibayi Health centre

Rwanda - Kibileze - Jean Pierre Sibomana (31) who is HIV positive, laughs with his wife and children (all HIV negative) about his wedding photographs. Kanage village

Rwanda - Kibileze - Teacher Potamienne Komezusenge (37) plays with her youngest child. She contracted HIV from her husband who died of the diesase and is buried in the back garden under a wooden cross. She says "As long as I feel strong, I feel OK emotionally... sometimes there is stigma here... but the biggest problem is money". Kibileze, Rwanda

Rwanda - Kibileze - Emmanuel Singizumakiza, a health educator shows a boy how to use a condom

Rwanda - Kibileze - Narcisse, who is HIV positive and the president of his local AIDS Association - Girimpuhwe ('Have compassion') - prays with his family at home at dawn before they start work in the fields. Kibileze, Rwanda

Rwanda - Kibileze - Narcisse, who is HIV positive and the president of his local AIDS Association - Girimpuhwe ('Have compassion') works in his fields

Without labouring the point, it was a pleasure to be taking pictures that weren’t simply showing people dying. I see so many photographers making work that purports to show an explanation of a subject but actually is little more than graphic cliche of a situation. That, at a time of crisis for visual journalism, isn’t enough. It isn’t enough to simply point a camera at someone and say ‘how terrible’. It says much that everybody has a camera and thinks that they have a right to call themselves a journalist by photographing the nearest horror without context or understanding. We earn a dubious and tenuous ‘right’ to report the world to itself by entering into a dialogue with it: an impossible covenant with a subject that tries not to perpetuate stereotype, easy answers or sloppy conclusions. It isn’t enough to go and photograph beggars on the streets of India for example to further our own purposes under the cover of journalism. We had better have a damn good reason to invade people’s spaces and lives. If you need an example of what is decent and committed about documentary practice look no further than that of my former Network Photographer colleague, Gideon Mendel who has spent more than a decade committed to the portrayal of HIV/AIDS in exactly the way I am talking about.

Sierra Leone - Freetown - A young girl, with obvious trauma, constantly counts her remaining fingers after rebels cut off her left hand as part of a campaign of terror directed against the civilian population. Murraytown Amputee Camp.

Sierra Leone - Makeni - A woman brutally injured by rebels in an unsuccessful attempt to cut off her arm. The arm is now completely lifeless. The amputees carry the visible scars of the Sierra Leonian conflict on their bodies - a constant and painful reminder of the cruelty and damaged psyches of the years of war

Sierra Leone - Makeni - Isatu, 34, shot through the vagina by rebels after rape.

Sierra Leone - Freetown - Safia, 14 was forced to watch her father murdered. Because she cried, the rebels dripped molten plastic into her eyes. Milton Margai School for the Blind

]]> http://stuartfreedman.com/blog/2010/08/this-is-a-big-inconvenience-for-me/feed/ 0 http://stuartfreedman.com/blog/2010/08/archives-rediscovered-images-1/ http://stuartfreedman.com/blog/2010/08/archives-rediscovered-images-1/#comments Mon, 02 Aug 2010 14:04:59 +0000 stuartfreedman http://stuartfreedman.com/blog/?p=1129 I’m currently going through a rather time consuming process with a really excellent editor, to upgrade my website and portfolios (more about this another time). The project involved going back over many of my stories and looking beyond the initial edit to images that were discarded or forgotten. Unfortunately, many of my originals have been lost or damaged over the years but I seem to have made some interesting discoveries: pictures that I’d forgotten about or simply overlooked. During the next weeks, I thought I might post some significant finds. I start with an image from a story in Mauritania about the wind and the desert.

Mauritania - Chinguetti - A sad woman in a house in Chinguetti.

I remember photographing this woman in a house and her looking terribly forlorn, distant and sad. I never could find out why. My notebook tells me that I was with her and her husband for only ten minutes. Sometimes, perhaps its better not to know…

Apparently she’ll live. Unlike the approximate 850000 people still die from malaria every year even though simple insecticide-treated mosquito nets could significantly reduce mortality if made readily available to all people in regions where the disease is endemic. This according to Ann Veneman, head of UNICEF speaking on World Malaria day on April 25th. No – funny I didn’t hear much about that either.

According to Veneman, 90 per cent of those afflicted live in sub-Saharan Africa, and the majority of those deaths are children under five years old. “This shocking disparity is even more unacceptable” she concludes. I completely agree. Thankfully I am no longer cynical about how the media works (…) and certainly wish no-one to be ill… however – on recovery, expect brave celeb to do more charity work on said disease with full media coverage and nothing to change.

Burundi - Ruyigi - Jean, an orphan of Burundi's ethnic conflict at Shalom House shivers under a blanket with malaria. Shalom House was founded by Marguerite Barankitse (known as the 'Angel of Burundi') in 1994. During the genocide, Barankitse, at great personal risk, managed to save 25 orphans, Hutu, Tutsi and Twa and built a home for them. Currently, she has helped more than 10,000 orphans and separated children who can grow up in an "extended adopted family" in security, education and love.

I seem to have lots of pictures of people dancing and partying across the world but when I thought about it, one image of hope and joy seemed to stick in my mind. The image below show a mother reunited with her son who had been kidnapped and forced to fight for Joseph Kony’s Lords Resistance Army in Northern Uganda. He’d been in the bush for a couple of years as I remember and I was present in an airless, dusty hut when he was delivered home by the Ugandan Army. His mother, completely surprised by her son’s miraculous appearance (she thought him dead) was overcome with joy and started to pray just after I took this image. I’ve often wondered what happened to him.

Happy New Year.

Peace.

Uganda - Gulu - A young man with obvious trauma is reunited with his mother and sisters after almost two years in the bush fighting with the Lords Resistance Army

Over the years, I saw a great deal of hopelessness in Africa: failed states, starvation and a fair few people that were intent on killing me (sorry, I don’t have any picture links for that…). Despite this, I always saw that ‘can-do’ spirit that Afrigadget showcases. I started to work on stories along a theme of a French word – débrouillardise – which sort of translates as the ‘art of getting by’ or resoucefulness. As an aside, it’s entirely ironic of course that here we are in the grip of potentially the worst economic crisis to befall capitalism since the Great Depression and we might soon be having to take a leaf out of the book of the very continent that we raped and pillaged for our own advancement.

Anyway, one of the stories that I worked on was about blind farmers in Ghana. I called it ‘To See a Small World’.

For about ten days I lived with Anafo and his wife, Asumpaheme in a hut in their village near Arigu, northern Ghana. I had a rather nice time despite being an object of intense curiosity from all the locals and, having I remember, to borrow a cooking pot from the nearby school teacher’s wife … The brutal reality of River Blindness or Onchocerciasis was of course sobering. To be a farmer in Africa is a struggle that I wouldn’t wish on most people. To be a blind farmer seems almost impossible. In spite of everything, the family managed to just get on with it.

Ghana - Arigu - Asumpaheme's daughter teases her mother with her grandaughter and then runs off...

Ghana - Arigu - A neighbour uses a stick to guide Anafo's hoe in the field

and my particular favourite:

Ghana - Arigu - Asumpaheme gently touches her husband's head as she leaves to fetch water

The full text of my piece is here

Before I forget the point of this whole story, it’s simply this: Anafo gave me some rope. It was his ‘afrigadget’, his way of leveraging a few extra pennies at the market from what he could find around him. Here’s a picture of him making some:

Ghana - Arigu - Anafo makes rope to sell in the market for a few pennies

and here’s a picture of the same rope on my kitchen table. It’s one of my favourite ‘things’ in the house. Certainly one of the most treasured.

UK - London - Anafo's rope from Ghana

I also remembered waiting for the school to open and being invited to do some skipping with a young girl and her friends that I subsequently photographed. Never easy to skip with cameras – but it certainly made the children laugh.

It’s those kind of memories that make some of the more tricky stuff bearable.

Street children play in the grounds of a school run by the Youth Alive project. Tamale, Northern Ghana

Agnes Chiravera, social worker and head of the Youth Alive project, hugs a former street child who is now in full time education.