history of central african photography, two views

two views of the history of photography in central africa from two perspectives: how africans themselves used photography and how the westerners who photographed africa used their images.

Photographers of Kinshasa: the history of photographers in congo and their evolving role from from sorcerers to accomplices to documentarians.

“Once considered a mysterious representation of a parallel world, portraits became images that could be controlled. Once a conducting medium between two worlds, the portrait was now a narcissistic object capable of distorting reality. It was a fragile portrayal of a reinvented everyday life that made it possible to immortalize an ideal self-image. Once a frozen spirit, the subject was now a sublimated icon. For anything was permitted in studios. Thanks to his camera, the photographer was both a privileged secret observer of intimate moments and an active participant who would suggest a prop or pose – a well-meaning accomplice who created that perfect image all his clients wished for.”

from In and Out of Focus: Images from Central Africa 1885 – 1960: smithsonian exhibit on historical photography from central africa centering around the work of casimir zagourski
“Throughout this period photography was used to describe and classify peoples under colonial domination and to record information about African architecture and art, dress and adornment, body decoration, ceremonies and rituals. Today, many of these photographs–even considering the circumstances under which they were taken–have become valuable historical documents of African ways of life. However, they are equally important as primary evidence of commonly held Western beliefs about Africans. Photographers tended to focus on themes that often reinforced erroneous notions of an “exotic” or “savage” Africa, visually evoking stereotypes about Africans. Some of these stereotypes–which could be traced to the earliest Western encounters with Africans along the coast in the 16th century–were celebratory; others were derogatory, racist and deeply painful. Seen from our contemporary perspective, many of the perceptions conveyed by the imagery were “out of focus”: viciously wrong and permanently damaging.

Besides documenting Africans and African life, much of the photographic activity in central Africa served to popularize the colonial venture. The building of the colonial infrastructure and successful economic exploitation of ivory, rubber and later minerals were common themes. Africans, whom the colonials saw as culturally inferior, were to be Christianized and educated in what has become known as the “civilizing mission.” Missionary activities and educational efforts are portrayed in the imagery, which celebrated colonial achievement. Many of the photographs exhibited here are aesthetically and technically compelling, which is one of the reasons they were widely reproduced. They formed an image world that focused on narrow, repetitive themes. These pictures left an indelible mark on the Western imagination, creating representations of central Africa that have had tremendous staying power.”