I remember vividly in 1974 when a cousin of mine, for the first time, gave me a small Kodak 110 camera to shoot him. I remember him instructing me to go down on my left knee, hold the camera firmly—and my breath, of course—close one eye and look through the view-finder with the other, compose and frame my subject, and press the shutter release with my right fore-finger. In fact, the instructions became so confusing to me that while I was still holding my breath with one eye closed, I started shaking and before I realized it, I had already fallen flat on the ground with the camera still held firm on my face. What an interestingly overwhelming experience? Today all these instructions have become my second nature.
The role of a photographer is significantly broad based. His or her work is useful on the scientific, economic, political, cultural and spiritual fronts. A good photographer is the one who, with appropriate tools and skills, carves or reproduces his perception of an object, subject or situation. He tells a better story of an event, establishes factual substances of evidence and demonstrates different perspectives of an argument. The photographer, as a matter of fact, is not very appreciated in this country of ours, Ghana, though he contributes a lot to the politico-socio-economic development of the nation. People sometimes see him as a threat to their privacy and security. My personal experiences as a photographic documenter span from being chased away by market women, sustaining physical injuries while shooting on location, clients’ refusing to pay me in full, and event organizers closing gates in my face or demanding unreasonably high fees for accreditation.
Traditional beliefs about photography in Africa are diverse. Each ethnic group has its own beliefs. About four decades ago, in some parts of the country pregnant women in Ghana were not supposed to be photographed. The simple reason or belief was that the fetus could be seriously damaged by an imaginary vicious ray, which was believed to penetrate the human body, get hold of its soul, pull it out and place it on the film. Many presumed the element that formed the image on the film was a kind of laser beam that emanated from the camera. The aged, holding firm to this mentality, also normally refused to be photographed. For the more they were photographed, the more they believed their life span declined.
So, why should we Ghanaians take photographs at all? There is already an array of pictures of Ghana available for us to sample from. Veteran western researchers have been particularly concerned with showing us pictures of our ancestral treetop houses. Unfortunately, it is not only a misconception that we live in the trees, but one that has been duplicated far too many times. An American can only document Ghanaian culture in American sense; a European uses a distinctly European approach. But it is only an African that can write African history in an indigenously African sense. It is very important for Ghanaians or Africans to document their own culture with the tools they have at their disposal.
The rate at which Ghanaian youth are falling under the yoke of foreign cultures is quite
alarming and should be a major worry to us all. Western movies and advertisements, as a matter of fact, are vigorously penetrating and dismembering the once intact moral fiber of our society. If quick checks in terms of policies are not put in place by our opinion leaders and legislators, Africa will soon become culturally bankrupt. We have a big challenge now to go to work in documenting the rich cultural and traditional values of Ghanaian society in particular and Africa in general before the western cultural tsunami swallows us. It is a Ghanaian who has all the cultural and spiritual capability and understanding to present and preserve his culture authentically. If you are not born on a Thursday how can you consciously respond to when the name Yao is mentioned?
Africa has different ethnic traditions and cultural practices. In as much as it is a cultural belief in some parts of Ghana that pregnant women should not be photographed, so it is also an issue for children to take to photography. In our society, children are taught to be humble, obedient, trustworthy, hardworking and respectful both at home and in school. They are not to make decisions without first consulting parents. Their rights are controlled and monitored by their parents. It is a pride for every African parent when the child takes after him or her. The child plays an important role within the family. Domestic chores such as house cleaning, washing, fetching of water, and running errands are normally reserved for children. Children also help on the farms when the parents are farmers or by weaving if the parents are weavers. If the family can afford it, then the child will attend school.
But children have a special way of looking at things, especially when it comes to photography. Their perspective is quite unique and often adults see it as funny. But that is where the trick is. Children can see things that we as adults have forgotten to see. They are quite literally shooting from a different angle. African children need to be given opportunities to shine. Ways must be paved for them to ride on. Noble tools must be provided for them to work with. And that is what we have done here with this book.
The boy Eddie’s flare for art in general is overwhelming. Sam Bathrick never thought introducing the “poor, African, Ghanaian, Madina, Zongo boy Eddie” to photography could be so rewarding. He, I think, was just playing a big brother to the boy. Sam did not know he was turning the key to an engine of sporadic talent. If Eddie, trying his hands on the camera for just a couple of days, could come out with such wonderful pictures as exhibited in this book, then one can imagine the class of photographer he will grow to be. Remember that children’s talent can be shaped in many ways. What if Eddie, instead of a camera, was recruited as a child soldier, strapped with rifles, grenades, hard drugs and taught to shoot and kill humans? Flipping through the pages of this small but invaluable book, one breathes the air of love, peace, joy, solace and excitement. I hope the book touches many a heart and soul willing to support our young photographer through his formal and creative education.
Godwin Y. Azameti
20th March, 2007.
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