Posts tagged ‘IRC’

PhotoPhilanthropy in the field: observations from Haiti

This week, PhotoPhilanthropy founder Nancy Farese is in Haiti, documenting the work of NGO’s as they provide disaster relief. She sent us this bulletin:

I am here shooting on behalf of the IRC (International Rescue Committee).  Their primary expertise in emergency response is water and sanitation, though they are quickly laying the groundwork for partnering with Haitian agencies to provide Gender Based Violence prevention programs in the settlements, child-friendly playing areas, and family identification databases to help people find their loved ones.

In Piste Camp a man collects rebar to straighten out and reuse.

There are approximately 500 spontaneous settlement camps in Port au Prince; people gathered out of the desperation of having lost everything in the crumbles of their house, or the simple fear of sleeping under concrete structures identical to those in ruins around them.  There was a 4.5 aftershock on Monday night, followed Tuesday by a 4.7 earthquake from a new source, that had us all running from our beds.

Spontaneous Settlement camp in Port au Prince

Spontaneous Settlement in Villambetta

The settlements are crowded and desperate; erected on every piece of available open land in the city  from parks to golf courses, out of any material at hand. Giant bladders indicate that the French Red Cross and UNHCR are supplying water, and  a cluster of people waiting in lines near a settlement indicates a distribution of tents or food vouchers.  The IRC and UNICEF are quickly building latrines with the help of campers where space is available, but they readily admit that the urban disaster constraints of this many people displaced in such tight confines is unique and challenging. Everyone fears the outbreak of disease if the latrines are not built quickly and used effectively, and everyone knows that each additional day spent in a camp means more resistance to a transfer to a safer, more physically intact location as communities develop and nearby jobs are secured. Everyone fears the onset of rain.

So what is going right?  The compassion and resilience of these remarkable Haitian people.  You can’t help but admire their strength. By far the most positive thing that we see is an openness, warmth, and a desire to connect. People want to talk with me, to tell their story, to hold my hand, to have a few words. There is much appreciation by locals for the help from people around the world.

Spontaneous Settlement in Villambetta

And children are playing in the camps; making kites out of plastic sheeting, toy trucks out of trash, playing soccer barefoot amidst the rocks and debris of an abandoned field.

In Piste Camp a man sells phone charging time, powered off of a generator.

Spontaneous Settlement in Villambetta, a girl takes a quiet moment to read. The schools are all closed, some physically collapsed in the quake killing hundreds of children.

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February 28, 2010 at 4:59 am 2 comments

Photographer as white messiah: looking back at a picture I wish I hadn’t taken

Last week, I wrote about Avatar and its representation of an indigenous society. In response, a friend forwarded me this Op-Ed by David Brooks, where he takes my criticisms quite a few steps further.

The White Messiah fable, says Brooks, is offensive because, “It rests on the stereotype that white people are rationalist and technocratic while colonial victims are spiritual and athletic. It rests on the assumption that nonwhites need the White Messiah to lead their crusades. It rests on the assumption that illiteracy is the path to grace. It also creates a sort of two-edged cultural imperialism. Natives can either have their history shaped by cruel imperialists or benevolent ones, but either way, they are going to be supporting actors in our journey to self-admiration.

“It’s just escapism, obviously, but benevolent romanticism can be just as condescending as the malevolent kind — even when you surround it with pop-up ferns and floating mountains.”

I love this. He says it so clearly. And that clarity is helpful, because in practice this is a complex issue that can be difficult to understand and to spot. As a photographer who is interested in social change, I have been a “benevolent imperialist.” And that’s not what I want to be. I worry about seeing myself as an agent of positive social change when I am actually exacerbating a social divide.

And here’s why. It’s very easy to come from relative affluence (which you do, in this world, if you own a camera) and try to work for the betterment of others as an outsider, and end up further marginalizing or denigrating the very people you seek to assist.

For example, I worked for the International Rescue Committee in Tanzania in 2005, and part of my job was to document the work they were doing in the refugee camps along the border with Burundi. In that area, malnutrition can sometimes be an issue.

Juan Arredondo on behalf of the International Rescue Committee

I was making pictures in the hospitals, which the IRC ran, and I met a woman seeking treatment for her malnourished child. I asked the woman if I could photograph her.

She was extremely embarrassed. It took her a few moments to muster the courage to say anything. She said I could photograph the child, but not her face. She covered herself with a scarf. A hospital worker turned to me and said, “She is ashamed because her child is malnourished.”

When I think about that incident, I feel gross. Of course she was embarrassed! I would be embarrassed! Is there any mother who wouldn’t be? Can you imagine how awful she felt? Why was I so thickheaded? How did I think she would feel? Did I think she didn’t have feelings? Did I think she would feel differently than I would in the same situation?

I humiliated a woman. I basically coerced her into being photographed because I represented an agency that was giving her assistance. And I made what was already a very painful, stressful situation for her significantly worse.

It is I who am now ashamed when I talk about this.

And I wonder, how can I do better next time? How can I see these moments coming more effectively? What are the attitudes I need to change? What are the approaches I can take that will allow me to be more respectful and considerate of others?

Inherent within this discussion is the question of whether it is possible to make great art about a community as an outsider to that community. In her comment on last week’s post, reader Sittingpugs said, “Smoke Signals is indeed an amazing film not only because of its quality acting, directing, and writing, but also because the ethnic minority experience is told from within (not to say that an ethnic “majority” artist couldn’t create an equally authentic story or that every piece of ethnic cinema features Truths).”

I’ve had writing teachers that said, “Write only what you know!” and others that said, “Write what you don’t know!”

I think great art surprises us—it can come from anywhere, and be about anything. So I don’t think you have to be from a community to chronicle it with beauty and subtlety. But, it’s also very easy to become a hapless messiah, a benevolent imperialist, or simply someone who is not actually helping anyone. Especially with photography, there are issues of exploitation, power dynamics, and simply knowing where to be that make working with a community difficult to negotiate for an outsider. It’s still worth doing, but it’s also worth thinking and talking about.

Juan Arredondo on behalf of the IRC

And these photographs, by Juan Arredondo on behalf of the IRC in Colombia, are really nice. As always, you can click on the images to see his full photo essay, or click here.

January 14, 2010 at 5:03 am 7 comments


"In this way his work is more powerful in its moments of creation, when real human interactions are eroding racial stereotypes, than in its exhibition. And if the work succeeds, it is not because Subotzky can use a camera like no one else, it is because his photographs embody his efforts to confront social injustice on a personal level." --Charles Schultz on Mikhael Subotzky

PhotoPhilanthropy’s blog is written by Eliza Gregory

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