Theory of Knowledge - Course Companion for Students Marija Uzunova Dang Arvin Singh Uzunov Dang
ethical issues are explored throughout thisWhilethis section looks in more detail at thechapter,how Indigenous Peoples are represented in•culturewhere the line between appreciation and•is in relation to Indigenousappropriationhow we navigate the tension between the•not to know and the responsibility torightknowledge with voluntarily isolatedsharepeoples.tribalNelson’s project on Indigenous Peoples,JimmyThey Pass Away”, serves as a case study“Beforethe complex political and knowledge concernsonarise when non-Indigenous individuals tellthatstory of Indigenous Peoples and knowledge.thepolitical implications of aesthetic decisions areThein Chapter 10. “Before They Pass Away”exploredto similar aesthetic and political concerns.connectsphotographs are widely acclaimedNelson’sbeautiful compositions that appear toastheir subjects. “I wanted to put themcelebratea pedestal like they’ve never been seenonsays Nelson (2014), and contrastsbefore”aesthetic with the “impoverished” andhisaesthetic used by NGOs and“patronizing”organizations to raise funds for their work.otherunabashedly acknowledges choosing toNelson“the most beautiful people on thephotograph(2014), leaving out Indigenous Peoplesplanet”did not meet his criteria for authenticity.thattrying to put these people in the same contextI’msomebody like Kate Moss … Our society, forasreason, has decided she is important andwhateverto be photographed in a high-concept way;deservesthe “authenticity” of a different cultureCritiquingthe outside is problematic for a numberfromobvious reasons. In our particular historicalofoutsiders may be conditioned to expectmoment,exoticized orientalist aesthetic. Photographersancomplicit in perpetuating that aesthetic ifareare not especially careful to guard against it.theythe photographs are stunning, they mayWhileinadvertently degrading because they showbesubjects isolated from progress, sciencetheirall the other facets of modern life. Theyandthe fact that their subjects may watchobscurewear denim jeans and use social mediaNetflix,the camera is not pointed their way. Andwhencan prompt the incorrect assumption thattheyfeatured communities have been that waytheas if their cultures are not constantlyforever,and adapting to the world around themadjustingeveryone else’s. Cultures, unlike artefactslikeare preserved and shown in museumsthatgalleries, adapt, collide, meld together andandchange over time. Anthropologist Juliacertainlyis simply not true that tribal people have beenItfor thousands of years’; they have been‘unchangedconstantly, as we have. It is clear that forevolvingtheir attraction and purity is rooted in theirNelson,from the future, and their containmentexclusionthe past— so that is the only reality he presentstohis photos. By omitting their interactions within‘modern world’ that they are a part of, andthethe myth that they are dying out,perpetuatingwork freezes tribal peoples in the past andNelson’sother problematic assumption has to doThenarrative and language, both of whichwithreflect and reinforce beliefs, attitudespowerfullyassumptions, as we see in Chapter 4. Theand“Before They Pass Away” invokes antitlepassing, a natural consequence ofinevitableIV. EthicsIV. EthicsI V. E T H I C Squestions of:knowledgeIV.1 The ethics and politics ofrepresentationLagoutte makes the following argument.eectively denies them a place in this world.(Lagoutte 2014)I’ve tried to do the same here.history and progress that such cultures are lost,(Nelson quoted in Merrill 2014)133
IV. Ethicsthe only thing one can do is admire theandIt does not, for example, suggest thatmemory.is a perpetrator to this passing, or an ideatherejustice, though maybe there is somethingofabout how Indigenous communities arecriminaloff their lands. What is causing thepersecutedaway” that Nelson references? Is this“passinginevitable?passingInternational has been a fierce critic ofSurvivalproject, and has assembled an impressive listtheobjectors featured on its website, among themofof Indigenous communities around theleadersterms: SurvivalSearchJimmy Nelson’sInternationalthe critics is Nixiwaka Yawanawá, fromAmongAmazonian Yawanawá tribe in Brazil.theoutrageous! We are not passing away butIt’sto survive. Industrialized society is tryingstrugglingdestroy us in the name of ‘progress’, but we willtodefending our lands and contributing to thekeeptribal leader Benny Wenda made similarPapuancomments.spokesperson Davi KopenawaYanomamito Nelson’s project as follows.reactedis not true that Indigenous peoples are about to dieItWe will be around for a long time, ghting for ourout.living in this world and continuing to createland,children. ourCorry, director of Survival International,Stephenmade the following similar argument.hasreality, many minority peoples, especiallyInones, are not ‘disappearing’: they are beingtribalthrough ‘our’ illegal theft of their land anddisappeared,… we are simply turning our usual blind eye.resources.critics’ perspectives are not told throughThesephotographs, captions or descriptions intheThey Pass Away”. Nelson responds that“Beforeis not an anthropologist or sociologist, that hehewants to take good photographs of beautifuljustWith the important political implicationspeople.his work, and the politicization of Indigenousofminority issues in general, good intentionsandnot enough. In Chapter 10 we examine theareof Sharbat Gula, photographed as Afghancaseby National Geographic photographer SteveGirlMcCurry.McCurry and Nelson appear to have hadBothintentions, yet both have been criticized bygoodon behalf of minority groups. Both episodesandour curiosity about how identity, privilege,inviteand aesthetics intersect in our presentculturemoment.political5(Corry 2014)world and prominent photographers.Before they pass awayprotection of the planet.(Yawanawá 2014)people are still strong and we ght for our freedom.Myare not ‘passing away’, we are being killed … .We(Wenda 2014)Figure 5.5Nixiwaka Yawanawá, protesting against the exhibition(Kopenawa 2014)of Nelson’s work at London’s Atlas Gallery, wearing ceremonialheaddress along with Western casual wear, no less or more“authentic” than Nelson’s representations134
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IV. Ethics
the only thing one can do is admire the
and
It does not, for example, suggest that
memory.
is a perpetrator to this passing, or an idea
there
justice, though maybe there is something
of
about how Indigenous communities are
criminal
off their lands. What is causing the
persecuted
away” that Nelson references? Is this
“passing
inevitable?
passing
International has been a fierce critic of
Survival
project, and has assembled an impressive list
the
objectors featured on its website, among them
of
of Indigenous communities around the
leaders
terms: Survival
Search
Jimmy Nelson’s
International
the critics is Nixiwaka Yawanawá, from
Among
Amazonian Yawanawá tribe in Brazil.
the
outrageous! We are not passing away but
It’s
to survive. Industrialized society is trying
struggling
destroy us in the name of ‘progress’, but we will
to
defending our lands and contributing to the
keep
tribal leader Benny Wenda made similar
Papuan
comments.
spokesperson Davi Kopenawa
Yanomami
to Nelson’s project as follows.
reacted
is not true that Indigenous peoples are about to die
It
We will be around for a long time, ghting for our
out.
living in this world and continuing to create
land,
children. our
Corry, director of Survival International,
Stephen
made the following similar argument.
has
reality, many minority peoples, especially
In
ones, are not ‘disappearing’: they are being
tribal
through ‘our’ illegal theft of their land and
disappeared,
… we are simply turning our usual blind eye.
resources.
critics’ perspectives are not told through
These
photographs, captions or descriptions in
the
They Pass Away”. Nelson responds that
“Before
is not an anthropologist or sociologist, that he
he
wants to take good photographs of beautiful
just
With the important political implications
people.
his work, and the politicization of Indigenous
of
minority issues in general, good intentions
and
not enough. In Chapter 10 we examine the
are
of Sharbat Gula, photographed as Afghan
case
by National Geographic photographer Steve
Girl
McCurry.
McCurry and Nelson appear to have had
Both
intentions, yet both have been criticized by
good
on behalf of minority groups. Both episodes
and
our curiosity about how identity, privilege,
invite
and aesthetics intersect in our present
culture
moment.
political
5
(Corry 2014)
world and prominent photographers.
Before they pass away
protection of the planet.
(Yawanawá 2014)
people are still strong and we ght for our freedom.
My
are not ‘passing away’, we are being killed … .
We
(Wenda 2014)
Figure 5.5
Nixiwaka Yawanawá, protesting against the exhibition
(Kopenawa 2014)
of Nelson’s work at London’s Atlas Gallery, wearing ceremonial
headdress along with Western casual wear, no less or more
“authentic” than Nelson’s representations
134