Is it possible to “decolonize photography”? 

Course Description

Before we dive into the history of photography it is important to spend some time on what exactly will be different about this historical lens and why it matters. This section's readings will cover photography’s connections to colonization and imperialism as well as investigate the difference between decolonization and de-centering Whiteness in historical teachings.

What is Decolonization?

Read

Discussion Questions

  • How would you define decolonization? 

  • How is photography related to settler colonialism as explained by Eve Tuck and K. Wayne Yang? Is it related to internal or external colonialism? 

  • How is the section “Playing Indian and the erasure of Indigenous peoples” related to photography and film? 

  • Andrea Smith encourages us to “check our aspirations against the aspirations of other communities to ensure that our model of liberation does not become the model of oppression for others.” When looking for or teaching “alternative” histories of photography what is the goal? What is your goal in using this syllabus? How can you “re-envision a politics of solidarity that goes beyond multiculturalism, and develop more complicated strategies that can really transform the political and economic status quo.” In other words, how can you change your teaching or photography practice to go beyond surface level “diversity, equity, and inclusion”?

How is Decolonization Related to Photography?

Read

  • “People of the Earth” Wendy Redstar and Emily Moazami

  • “The Japanese Colonial Eye: Science, Exploration, and Empire” by Morris Low

  • “Chapter 1” Picture Freedom: Remaking Black Visuality in the Early Nineteenth Century by Jasmine Nicole Cobb

  • “The Japanese Colonial Eye: Science, Exploration, and Empire” by Morris Low

Discussion Questions 

  • Going beyond language, how did these photographers approach taking pictures that circumvented colonial norms? (Hull, Atmos)

  • Teju Cole brings up the simple question of “Good for whom?” Think of recent media coverage and discuss who these images are for? Who are they serving? Who are they hurting? Now think of your own practice and ask the same questions.

  • How is the collection, preservation, and display of photographs related to colonization?

  • What is the responsibility of teachers/researchers/photographers in re-writing the historical canon? How did the 3 speakers in “The Decolonizing Lens Part 1” take this on?

  • How have Tahila Mintz, Dakota Mace, and Ayana V Jackson challenged a predominantly white point of view through their artistic practices? How can you apply these same principles to your practice? How can you counter (or at very least not play into) the construct built though the colonized history of photography?

  • How can the principles of a healing centered approach rather than a trauma informed approach apply to teaching about the ethical dilemmas and harmful practices of photography?

Contribute or Give Feedback

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Courses

Is it possible to “decolonize photography”? 

Investigate the difference between decolonization and de-centering Whiteness in historical teachings.

Photography as a Tool for Freedom and Self Possession

This section instead focuses on how the global majority has used photography for identifying, defining, and documenting their communities.  

Vernacular Photography and the Power of Self Imaging

Building on the previous section's topic of photography as a tool of freedom and self possession it is important to look at the role of vernacular photography.

Consent in an Era of Surveillance and Global Audience  

COMING SOON: Commonly these conversations end at the point of legality and consideration of ethics, morality and power dynamics are pushed to the fringes. This section moves these conversations to the center.

Appendix

COMING SOON

Access and Sustainability

COMING SOON