Photography and the New Native American Aestheticby Heather-Ann Wickers |
|
English Literature |
Literature Links |
English Literature Essays |
Short Story Writing |
Books on Film | English Literature books |
As I began to look at the prints, I realized each roll of film formed a complete photo narrative [Leslie Marmon Silko] |
||||
The commentary and artwork of Lee Marmon and Leslie Marmon Silko, contemporary Native Americans, attests to the theory that photography is the modern alternative to the oral tradition. Through Marmon's photography and Silko's prose, the two create many sound arguments for suggesting that photography is analogous to oral tradition for contemporary indigenous peoples. However, one must question the validity of such arguments, regardless of how strong they appear to be. Many questions arise when reflecting upon the idea of photography as a new medium for the oral tradition. Is it possible for a society that is so firmly rooted in one tradition to simply switch to something so drastically different? Although oral tradition is subject to interpretation, is it not a less subjective medium that photography, in which one photograph can mean something completely different to two people? Although Silko's suggestions seem valid, one cannot help but wonder how much, or how little, the oral tradition and photography could possibly have in common, and how a society that has held on to the same stories for millennia could forsake this tried-and-true medium for something as transient as photography. The new Native American aesthetic and Leslie Marmon Silko Silko argues that in order to understand her idea of photo narrative, we must attempt to understand how Native Americans view photography. Modern Native American aesthetics differ greatly from those in past years. Much of the older photography concerning the culture of the indigenous peoples of America reflects the 'otherness' that is traditionally attached to Native American identity. If one examines an older photograph of an American Indian, many of which were taken by white photographers, the emphasis is on exploiting the superficial aspects of Native American culture. Contemporary photographer Ben Marra's photographs, which depict the traditional garb associated with the Powwow, demonstrate the image of the archetypal American Indian prior to the American Indian movement of the 1960's. Photography after this movement, which resulted in the rise in popularity of artists, authors, and activists of Native American origin, reflects an appreciation of Indian culture that goes beyond the depiction of an 'Indian Chief', complete with tomahawk and feather headdress. Modern photography, such as that of Lee Marmon, projects an image of Native American culture that dispels the grandiose 'chief' imagery; snapshots (and I term them snapshots because the emphasis is on the spontaneity and reality associated with modern-day life) demonstrate how modern Native Americans actually live. The New Aesthetic revels in the common. Modern American Indian photographers do not attempt to hide the atrocities of contemporary reservation life, nor do they attempt to exploit the stereotypical 'Indian' persona. Many images, such as the photographs of Lee Marmon in Leslie Marmon Silko's Storyteller, reflect the daily life of Native Americans. In this work, pictures often depict the Silko children in tattered clothes performing daily tasks; also, many of the pictures are completely devoid of the human figure and, instead, focus upon he process of destroying the environment. The New Aesthetic, which attempts to depict the true nature of daily life, is reflected in the photography of Marmon. It is the 'common image' which Silko looks to in an attempt to explain how the idea of photo narrative may come to replace the oral tradition in the lives of contemporary Native Americans. The photo-narrative and the art of storytelling In the realm of Native America, photography does not carry the same connotation that is normally attached to the art in 'white' culture. In 'white' culture, people often perceive a single photograph as a work of art, particularly if it depicts something sublime or pleasing to the eye. As discussed previously, the subject of much Native American photography is common, daily happenings. Additionally, in contrast to the preference among 'white' culture to view a single photograph as a work of art, Native Americans are partial to the 'stringing together' of images. The result of this is a pictographic story, or, what Leslie Marmon Silko refers to in her essay 'On Photography' as a 'photo narrative'. Silko writes, As I began to look at the prints, I realized each roll of film formed a complete photo narrative (Silko 181) In this regard, the
photography and the oral tradition become closely
intertwined. In the art of storytelling, the storyteller
is the master of the tale; the words emitted from the
storyteller's mouth form the stories that have allowed
Native American culture to survive. The photographer
becomes this representative storyteller. What he or she
chooses to depict in a given photograph is likened to the
words he or she would speak if a story were being told. |
English Literature |
Literature Links |
English Literature Essays |
Short Story Writing |
Books on Film | English Literature books |
|
|||||
Privacy Policy |