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The Visual Representation of Developing Countries
by Developmental Agencies and the Western Media
by Shahidul Alam
of the developing world
The situation is not unusual. Invariably films about the plight of people in developing countries show how desperate and helpless the people are, the people who realize their plight and come forward to their support are usually white foreigners. In some cases even local people are seen to be helping, but invariably it is a foreigner who has enlightened them about the way out, and it is always a foreign presenter who speaks out for them. The foreigner is so strong and forthright and so caring. She could almost hand over the microphone to them, if only they could speak for themselves, if only they understood.
construction of a stereotype
assumptions and how they are validated
There is of course the other tack where "Third World Participation" is created in the form of guided tours to paid Third World journalists who are given what amounts to a censored view of well to do countries. In a recent tour of the United States organized by the United States Information Agency, I was accompanied throughout by a person from the State Department, and my request to visit Harlem was turned down due to "security reasons." My report on the trip was never made public. That people from the developing world do go on these trips and cater to these forms of tokenism is of course a slur on their own professionalism. Organizations like the World Bank do sponsor studies by people known to be mildly critical, with the proviso, that the World Bank would decide if the work would be published. Thereby retaining ultimate control.
business of development
The truth is, that despite all their claims about delegation, very little decision making involves local people. And very little decision making by the foreign experts involves in-depth local knowledge. It would be hazardous for these foreign experts to permit the infiltration of people who could penetrate their information chain, something that photographs are particularly good at doing. Culture, once considered a hindrance to development has now, become fashionable to promote. But it has to be a particular type of culture packaged in a particular type of way.
The "image business" is inextricably linked with the "development business." From slide shows in remote villages to slick exhibitions in posh hotels, from A5 flyers to coffee table books, from fund raising campaigns to annual reports, image hungry developmental agencies depend heavily on image makers. One feeds off the other. It is hardly surprising therefore that the image producers (read mostly white men photographers) produce images that are good for business for both industries. Development or fair representation doesn't enter the equation.
power of images
The credit lines in articles dealing with poorer countries have no indigenous names. When questioned why this was so, picture editors and development workers claimed that there simply weren't people in these countries qualified to do the job. Their reliability, their professionalism, their ability to understand the brief was all suspect. In response we began to make a survey of indigenous photographers working in their own countries. The response, both in terms of numbers and the quality of the work was overwhelming. If a small organization based in Bangladesh armed with no more than lists obtained from interested friends can pool together an impressive list of talented indigenous photographers doing good work in their own countries why has it been so difficult for the development agencies to 'discover' them. Discovery is of course a key word when photographing the natives. The photographer steps down from the plane, 'discovers' the native and goes back with the scoop. That discovery implies past ignorance, seems to never get noticed. Yet there are people who did know the local people, understood their language, were respectful of their culture and understood the underlying causes of things. These are the people, skilled, available and able, who do not exist. They have not been discovered.
The history of photography fails to mention the work done by photographers in poorer countries. While the heroic feats of Hill and Adamson are extolled, the photographers who had to import all their equipment and materials from the wealthier countries and documented their cultures for little financial gain have never been registered in the archives. The few exceptions like Indian photographer Din Dayal, given the title Raja by the British who had been legitimized for having served the crown. Other much more important names in the field from the same period, like Ali Ahmed Khan, never get mentioned, puzzling until one remembers that Khan had led a rebel attack on British troops.
In five years of operation as a picture library based in the developing world, we have had many requests for images of Bangladesh by publishers, NGOs, donor agencies. The most frequently requested picture so far have been of the floods, cyclones, and slums. There was even a request for flood inundation of Dhaka in the floods in '93, which the client insisted had taken place. We have not for instance yet been asked for a picture of a person at a computer terminal, a very commonly stocked photograph in western libraries, and one which we too have several of. In one instance the client, an educational publisher in the UK insisted that our photograph of a tila (little stupa in the middle of a pond, used as cyclone shelters) was much too small and that they knew of huge giant stupas, which local photographers and community workers who had extensively combed the cyclone affected areas had never seen nor heard of.
The danger of being left out is not as great as the danger of being nullified. Books that teach you how to be a successful photographer, The ones that teach you the secrets of the trade, teach essentially how to become occidental. Since the person making the most important decisions regarding the usage of a photograph is invariably the person most distant from the event itself, the photographer's 'formula' for producing acceptable pictures is to regurgitate editorial policy regardless of what is observed. That is what the indigenous photographer must produce if he/she is to get ahead. That is what makes them begin to 'exist.' The danger therefore, is of becoming a sheep in wolf's clothing, and eventually of becoming a wolf.
Pretty much all NGOs seem to have the usual 'income generating activities,' the savings groups where the villagers gather round in a circle and sign the passbook, the functional education classes where village folk are taught urban middle-class expressions that even in cities only get used in formal situations. Where they are taught "the policeman is your friend..." and they know otherwise. Photographs of the activities of a hundred different NGOs would be largely identical. Where is the training to network that the donor circuit itself thrives on? Where is the emphasis on information technology that allows the richer countries to retain their stranglehold? The poor in these countries have been observed, analyzed and understood, but why have they been built a cell with no exit? Why are entire nations guinea pigs for foreign anthropologists, sociologists, economists and photographers?
In a recent effort by an independent agency to
install E-Mail in Bangladesh for setting up an inter-nation and a South-South
dialogue, it was discovered that many NGOs already had their own dedicated
E-Mail line, but had not offered the service to others, even to other
NGOs. Information appears to be a resource that people are very secretive
about, access to information something developing countries are selectively
denied. The nature of the images representing developing countries is
an index of the media control that will prevent developing countries from
We Trick or Treaters in bright costumes are
Asking your help for children afar.
We want no candy But cash is dandy,
Here is our UNICEF jar.
the children, in foreign lands,
Alam, Dhaka 30th May 1994