Model Responses to Discussion Questions from Week #2

Hi all,
It is Sunday, and I've edited the responses for this week's discussion questions. There were only four people who "spoke" up in class this week (five, if I count Amanda who just posted--too late for inclusion in this post). This is pretty classic for a small class, but for those who have not participated thus far, I very much urge you to begin posting, as your grade will definitely suffer if you choose to remain silent! There are some really interesting responses below, and I hope you take the time to read them. Perhaps, instead of responding to my questions, you might respond to your peers by posting responses to various responses. Feel free. The more discussion of these matters the better. As for Week Three, I will repost the assignment (but it has been up for almost two weeks now). In any event, I am expecting Annotated Bibliography #2 to be posted by Monday, Sept. 14 at midnight.

Week #2 Willis Discussion Questions

When studying the photographs taken by African American photographers in the late 19th century, for example, compare their photographer/sitter relationships (within the genre of studio photography) with Keita and Sidibe’s photographer/sitter relationships.

Lindsay: I was able to see some definite similarities between Keita's photographer/sitter relationships and photographer/sitter relationships of some of the late 19th century African American photographers. One of the first similarities I noted was the variety of backgrounds… [Both African-American photographers and Keita] had people from all different social classes and professions as [clients]…. Lion, Ball, Washington, and Shepherd allowed their clients to collaborate with them in "defining their own image.” For me, this is reminiscent of Keita’s tendency to photograph his subjects with their most valued possessions, allowing them to portray a certain kind of image for themselves.

Kaitlyn: …using more traditional poses, such as portrait pose was [enacted by]...Keita and…Eddie Elcha and James Van Dee Zee. …Sidibe’s photographs…were very similar [to the] photographs [of[…Arthur Bedou [and] Cornelius Marion Battey [with their informal] backgrounds,…but [also]…some elements of posing...

Julian: Photos of African Americans in the late 19th century featured middle-class people…wearing stylish and expensive clothing. Keita and Sidibe also photographed middle-class Africans who wore stylish clothing and had significant roles in their societies. Michelle Lamuniere states, "But photographic portraits were also symbols of wealth and social importance, achieving iconic status, especially during Keita's time" (13). In the 19th century photos, African Americans were dolled up as much as the Africans were in Keita's photos. The style of clothing demonstrates "wealth" and shows the status of the people in the photos.

When reading of the "New Negro" period photographers, think about what it meant for black photographers in the U.S. to counter racist imagery. How might this period of image making relate to Keita and Sidibe’s photographs and their subversion of the European gaze?

Lindsay: "New Negro" photographers…were creating…political art. …African Americans were being mocked in advertisements, postcards, etc. as they were portrayed as caricatures. As more and more African Americans migrated north, they started to reinvent themselves, combining southern and northern black cultural aspects to create the "New Negro" culture. Photographers captured this movement (such as: C.M. Battey, Arthur P. Bedou, Villard Paddio, etc…) in order to challenge the stereotypes that were being perpetuated about them. This is similar to Keita's [photography]. Rather than feed in to the "barbaric" stereotype fed to the masses by the dominant culture, he gave them something entirely different.

Kaitlyn: …Keita and Sidibe’s photos as well as the ones presented in Willis’s book such as James Van Der Zee, and Arthur Bedou, and many other African American photographers made their photographs important to their culture and community [to]…prove that their community is [equal]…to anyone’s community.

Julian: Keita and Sidibe were on a mission to get over the European gaze, and photographers in the late 19th century were trying to avoid stereotypes as well. Africans were stereotyped as wild savages; they were always depicted [in this manner in] National Geographic photos... Western beliefs fed this stereotype of the "savages" of Africa. Keita and Sidibe produced photos to defy these stereotypes. Both photographers "collaborated with their subjects to produce images that had significance within their own society" (Lamuniere13). In the late 19th century, the "New Negro" movement was a new beginning for African Americans. This was a time of discovery for African Americans… Willis [writes about] how most photos…produced by the [white supremacist culture] were usually "demoralizing and racist"…

What do you make of Willis’s quote of bell hooks’ comment: "The camera was the central instrument by which blacks could disprove representations of us created by white folks" (Willis 38)?

Lindsay: I think that bell hooks is absolutely right to cite the camera as a powerful tool for the black community. When the dominant culture is constantly placing emphasis on negative stereotypes and making African Americans appear to be something that they aren't, they have to find a way to fight back. What better way to do that than by showcasing the truth? A camera allows the photographers of the black community to capture moments of everyday life and publish them for the world to see in a raw and honest way that works towards disproving the misrepresentation that has been placed upon African Americans by the dominant culture.

Kaitlyn: …The camera became a central tool for promoting equal opportunity… It gave…insight into lives of the African American culture and demonstrated they are so much more than the stereotypes associated with them.

Julian: …What hooks was saying, is that white people already had a image in their head of the average black person based on the past and the images [created of them by] white media... Black people were usually [portrayed] as servants and workers, instead of being [portrayed]…as [those] with high status in society. The New Negro movement…captured photos of African Americans…of the middle-class, and those who were leaders in their society. [Such media stereotypes of African Americans still exist; for instance,]…after Michael Brown was killed the media always showed photos of him holding up "alleged gang signs", and [giving] the middle finger… What the media did not show as often was the picture of him in his cap and gown after graduation, and that he was getting ready for college…

When looking at the photographs taken in the 30s and 40s, try to identify which photographs fit which "distinct genre" of photographs of African Americans of this period: "Colorful Black," "Black Victim," "Noble Primitive," "Transformed Black," and "Role Model." What do such genres make you think about? Do such genres still exist in contemporary photographs of African Americans? How might or might not they relate to photographs of Africans of this time period? (Keita was photographing during this period).

Lindsay: …the "role model" genre includes "the polished professional" that is used to "counter the effect" of many of the other stereotypes placed on African Americans during the time period (89). Another genre I noticed being represented frequently is that of the "colorful black". These are photos of musicians, writers, politicians and political rallies, etc. Morgan and Marvin Smith were popular photographers of this time period … As far as the correlation between specific genres in African American photography and African photography, I can definitely see the "role model" genre popping up in some of Keita's work from Africa. As discussed previously, sitters were often times placed in very European styled poses or clothing which would fall in line with what the dominant culture of America would see as a "model citizen"….

Kaitlyn: The genres that stuck out the most were the “Black Victim” and the “Role Model”… [“Black Victim” photographs taken by] Robert H. McNeill and Charles (Teenie) Harris…remind me of today’s crimes between cops and African Americans. The photographs taken my Charles (Teenie) Harris were my favorite [“Role Model” photos]... There were pictures of a Beauty Queen [and] an African American baseball player…

Julian: When I look at these photos, I immediately think of the "Transformed Black" and "Role Model"… The "Transformed Black" genre, is the evolution and advancement of Black people in America. The New Negro movement itself represents the "Transformed Black", and so photos during this time period show Blacks with power, education, and wealth. These photos were intended to increase "Black pride", and also to defy stereotypes. For years the majority judged Black people as ignorant beings, and that they were only good for hard labor... The "Transformed Black" gave Black people the chance to show that they are more than just workers, and that they were advancing in everything. The "Role Model" genre were photos that influenced Black people to have pride in their race and to strive for success. When I think of photos of this genre…, I picture photos of social leaders during the New Negro movement. I also picture photos of Black military officers, nurses, businessmen, and students. The "Role Model" genre gave Black people hope and something to look up to instead of seeing images of fellow Blacks as servants. 

For the contemporary period, Willis categorizes African American photography into the genres of “Street Photography,” “Cultural Landscape Photography,” etc… She ends with “Digital Photography,” commenting: “now more than ever before, the photographer has become the narrator as well as the image maker” (Willis 94). What do you think she means by this?

Lindsay: Willis states [that]…photographers today…are responding to issues outside the immediate realm of photography… By giving the public photographs that makes the public think critically about a specific issue at hand, photographers are in a sense playing a role in the story that is unfolding around them….

Kaitlyn: The way the photographer has a sitter pose, or [how he or she is] able to capture “moments” in history, allows for a story to be created—[with] the photographer [as] the narrator.

Julian: …The image itself is the story, and the person capturing this image is telling the story. There is a reason why the photographer captures an image in any particular way. There is a purpose for every image, and with digital photography, the photographer has the ability to edit the image. Today photographers have the technology to make a person appear completely different in a picture than how they do in reality.

Week #2 Spectacles of Whiteness Discussion Questions

What does it mean to look through your eyes as viewers of African and African American reinscriptions of embodied blackness? Think about the photographs you’ve looked at thus far, and relate your experience as audience of these images. Do you commodify them? Have they transformed you? (Remember our bell hooks’ discussion?)

Lindsay: …We had previously discussed in class the political aspect of African American art and how there is this idea that African American art cannot afford to NOT be political until there is actually racial equality in America. I think that whether that is a conscious notion or not, I find myself searching for some sort of political undertone when I look at a piece of black art, whether it be photography or some other form.

Meghan: hooks wondered why art had to be valued as representation rather than expression, which brings up the idea of "blackness" set forth by people like Seydou Keita. In the African photography of Keita "blackness" is being portrayed as a race consisting of great class, education, and sophistication… The photographs in Smith's article were not only shocking but gruesome [and]…the image of "blackness" portrayed in these photographs were forms of [racist] propaganda…

Kaitlyn: …African American photographers…challenged the white community by demonstrating photographs of prominent and iconic figures in their communities, as well as every-day middle class citizens. They were effectively and subtly challenging white stereotypes by using a camera. After reviewing these photographs, it made me think about how much influence photographs have on different communities.

Julian: The photos from this section and in Willis's book show the importance of photography at that time and the effect these images had given the media’s [power]. The [white supremacist] culture used images of African Americans to keep them down and to [show them that they were simply there] to work and serve for them. These images also dehumanized African Americans, which defined "blackness" for the White audience. African American photographers sought to capture photos of people with prominence and of the middle-class, which defied the stereotype of "blackness" that White photography had defined. These photographers’ goals were to define "blackness" in a positive way, which played a significant role in the New Negro movement.

Think of a photograph that you think works (or worked) both to foster white supremacy and African American protest? Describe this photograph.

Lindsay: I would say that a lot of the photographs taken during the Ferguson protests/riots could be seen as both fostering white supremacy and African American protest… [In one photo I saw] a young African American woman, probably in her early 20s being subdued by two white, male police officers, They had her down on the pavement, her hands restrained behind her back, and she was crying. In one way I can see how this could show the idea of African American protest and the fight back at an oppressive society… On the other hand, I know people who would use this kind of photo support white supremacy. They might say the police officers were just "doing their jobs" and that if the rioters wouldn't have stepped out of line, scenes like the one in the photo wouldn't have even occurred.

Meghan: I looked up the images of all of the lynching postcards discussed in [Smith’s] article… The photo I find most shocking is that of the lynching of Thomas and Abram Smith. This photo, taken at night and presumably close to the death of both young black men, depicts a scene that is disturbing in a number of ways. As Smith says, the photo looks "carnivalesque" in nature, which, to me, would suggest some level of fun and excitement. The word "fun" is not something that would bring the image of a lynching of two young, black men to mind. This picture is a true representation of the sick white supremacy in the South at this time. The fact that they could make such a spectacle, taking pictures and carrying on while murdering two men, without any repercussions is something that is unfathomable.

Kaitlyn: The photographs shown on pages 124-126 were a visible demonstration of white power to me. The way the white audience interacted with the camera was very authoritative. Their expressions demonstrate their racial superiority. They stare directly into the camera, with no emotion or remorse.

Julian: In Smith’s "Spectacles of Whiteness", there were a few images of White people at lynchings, which captured my attention. These people were gathered together as if they were at a parade, and were smiling from ear to ear. Smith quotes Roberta Smith stating, "What takes the breath away is the sight of all the white people, maskless, milling about, looking straight at the camera as if they had nothing to be ashamed of, often smiling" (120). This quote shows that White people were proud to part take in the event and that lynching was a southern tradition to show white supremacy. These images show the power of white supremacy and how they could simply dehumanize a Black man and humiliate him and burn him in front of thousands with no sympathy at all.

What is the difference, in your opinion, of a mug shot and a studio portrait? Is the difference discernable?

Lindsay: For me, the difference between a mug shot and a studio portrait is huge. A studio portrait is often something that you pay for. In many cases it is something that you prepare for. You get a studio portrait taken to show yourself in a positive light so that later on in life you can look back on that photograph and be proud of the person you were when it was taken. A mug shot is not a photograph to be proud of. In fact, it often brings on feelings of shame, rather than pride. A mug shot is not something you prepare for or ask to be taken, it is something that is forced upon you. You are not displaying your positive qualities in a mug shot. Your negative qualities and your "dirty laundry" is being hung out for others to see when you have a mug shot taken. Rather than looking back at that kind of photograph with happiness or pride, you would look back in disdain and regret. 

Meghan: The difference of a mug shot and a studio portrait at first glance is not so easily discernible for me... The most obvious similarity between mug shots and studio portraits is that they depict the mood and feelings of the person who is being photographed…

Kaitlyn: …Studio portraits were taken as way to defy the stereotypes placed on the African and African American community. Whereas a mug shot…fit[s] certain stereotypes [of African Americans as criminal]. Though I will say that their faces in both mug shots and studio portraits relay a similar quality which is no facial expressions whatsoever.

Julian: The difference between a mug shot and a studio portrait is the story behind the images. The mug shot is taken against one's will, and the image labels this individual as a "criminal". Studio portrait photos were a tradition in which African Americans traveled to studios to be photographed for a positive purpose. Many African Americans had their pictures taken to show that they were a part of the New Negro movement and that they did not abide to the stereotype of "blackness" defined by the White man. The only similarity between mug shots and studio portraits are the facial expressions on the faces of the people in the photos. Most individuals do not smile in their mug shots, and they often have a strong stern look. In many studio portrait photos, individuals and groups of African Americans have this same "mug-shot" like look as well...

Describe any photograph you may have seen that depicts white violence in minutiae.

Lindsay: The absolute most horrific photograph I have ever seen happens to be a photograph that depicts white violence. That would be the picture that was taken of Emmett Till's mutilated face in his open casket. There are no white people at all in this photograph. In fact, Emmett Till is the only person in it. But his face, no longer discernible as a face at all, is a massive indicator of just how horrible white violence can be.

Meghan: While reading the section of the article that detailed the true sadistic nature of the white community by discussing the participation of children in lynchings I think that I was the most appalled. …children were placed in the front and told to smile, or hoisted up on the shoulders of an adult to get a good view [of Rubin Stacy’s lynching], and (possibly the worst of all) taken out of school to be able to attend the gruesome spectacle.

Kaitlyn: …the lynching of Rubin Stacy demonstrates white violence at its worst. The photograph shows his lifeless body hanging with his wrists and feet handcuffed together. His neck was titled off to this side to indicate that it was probably broken. His body was mangled looking and was very dismal to see. Yet was so strange was that the people surrounding him in the photograph seemed to be pleased with what had happened to him and to have a sense of justice on their faces.

Julian: The photographic postcard [of]…the lynching of Lige Daniels, August 3,1920, Center, Texas, [depicts] a young boy who is not showing much emotion... In these images of White people at lynchings, most of them look excited, and some show no emotion at all. I chose this photo because of the boy who may be witnessing a lynching for the first time. This young boy, who is still learning the ways of life, is attending this lynching, which is a gathering of thousands of White people from all over Texas. His parents brought him to this event to witness Lige Daniels, a Black man being dehumanized. The boy will remember this forever and in his mind this will be the right thing to do, as a white supremacist in training. The fact that parents brought their children to witness such a gruesome act of violence shows how violent their culture was.

Respond to anything that moves you from Smith’s article.

Lindsay: Honestly, what moved me the most in the Smith article was the story of Samuel Wilkes' lynching. The mere fact that 6,000 people, 2,000 of whom traveled from afar, to view the "event" is enough to make my stomach churn. This is just one of many examples that show that lynching was practically a sport… It was something entirely socially acceptable and even expected in some places… Even the people physically doing it remained unmasked which indicates to me that they felt no shame, rather, they celebrated these horrible acts in their society. 

Kaitlyn: What was the disturbing part of this how article was how the white community would make a spectacle out of the lynching. They would even go as far has smiling towards the camera, to demonstrate their authority and happiness that someone was killed. …how could this community have no remorse after killing another person (who was, most of the time, innocent)?

Julian: This passage from the text was disturbing for me to read, "And, of course, lynching itself could not occur without some form of legal and state sanction, as men were pulled out of jails and wrested from armed guards, as newspapers advertised lynchings, schools closed so that children could attend, and trains offered free or reduced fares to..." (121). I had to take a break from reading this article because I was so appalled from what I have just read. The fact that schools closed as if it were some sort of holiday is unbelievable. The White community treated lynchings as if they were parades or festivals. 

Why do you think Smith included the image selections she did for this particular article?

Lindsay: I think including the photographs that were of details from postcards that depicted lynchings was definitely an effective choice. It shows how even during a lynching, which is entirely about the life of a black person being taken from them, the white people involved somehow find a way to make it about them. There are close ups of their faces showing all sorts of expressions. The fact that these were photographs that became post cards shows even more how these people believed that they were entirely justified in their actions and wanted as many people to see/hear about it as possible. 

Meghan: I think that the images within this article were the most powerful addition to what Smith was trying to accomplish. The intent of this article was to show white supremacy in its complete entirety, detailing the irrational violence and savagery of the act of lynching. I believe that the photographs that they took and held so dear as a "memento" (as Smith puts it) of their superiority over the black race had the exact opposite affect that they set out to achieve. In no way do I see them as good triumphing over evil, or distinguishing a threat. They look only like barbarians, the very thing they claimed to be fighting against. Showing the photos of whites smiling at the camera while, at the same time, being in the presence of a dead body shows their true evil nature.

Kaitlyn: Smith’s choice of photographs fits perfectly with how the white community still felt as if they were the superior culture. They would still continue to dehumanize the black culture, with not just photographs but even as far as capturing their worst actions physically and violently such as the lynching. The way the photographs captured the faces of the white community said everything as to how they felt towards the African American community. The images of the white community smiling and having their children witness this horrendous event furthers her argument about racial supremacy.    

Julian: I believe Smith included certain photos in this article to show true white supremacy and how dehumanizing Black people was a tradition for Whites. The photos show excited groups of White people, as if their favorite singer was about to perform a show. The images with the kids attending the lynchings have powerful messages as well. Smiling faces, and children at lynchings, shows white supremacy at its finest, which is why it still exists today. African Americans were dehumanized for a number of years, and today we are still trying to prove that we are just as "human" as anybody else.