In my blog post, last week, I mentioned that I took a workshop with Ernesto Bazan in Chapada Diamantina, Brasil. He and I also spent much of January in Brasil with another group of people in Salvador de Bahia and Reconcavo Bahiano (in and around the city-town of Cachoeira). This mid-winter trip made me quite certain that I want to return and continue photographing in the province of Bahia so that I may proceed with work on (what is now) my project, This Miracle.
Please do take a look at the galleries of photographs from the Bazan workshop this past January, in the group we called “With Legs.”
This past February, I took a workshop with Ernesto Bazan in Chapada Diamantina, Brasil. I have mixed memories of this place because during the last three days, there, I had terrible food poisoning and was stuck in my room or tethered to the bathroom… Thankfully, most of my experience was utterly brilliant. In the end, the open and warm people and the magnificent landscape are what I truly remember; I look forward to returning there as well as other parts of Bahia, to continue work on my project, This Miracle.
Please do take a look at the galleries of photographs from all of us, in the group we called “Circles,” on Bazan’s Circles Gallery Page.
In my last post I wrote:
This [most recent] trip to Brasil was an eye-opener for me on a few levels. I felt that I was walking on a tightrope in… the country… I became very conscious that behind the myth of a magical/spiritual Bahia lies a very difficult, and sometimes unbelievably harsh, world of poor, landless, and/or homeless people who suffer yet are determined to surmount obstacles. They struggle daily to survive – and do not always succeed.
I saw a great deal of poverty and began to understand that it is difficult to break through social and economic obstacles (due to the dramatically unequal distribution of income ) – *many* people live in destitution. Black Brazilians are among the poorest. Throughout the country, they live in sprawling favelas (slums) or in abandoned buildings and warehouses, as part of the Movimento dos Sem-Toto (Roofless Movement). In the Bahian countryside it is common to pass through small villages where the housing is barely basic and where multiple generations of people live together. Quilmbos (also known as mocambos), are plots of land given to those who are entitled to slavery reparations. There is a pervasive lack of decent education there too. The chances of getting out of these conditions are slim to none.
Yet I also saw strength, endurance, and hope surface in daily life. Upon reflection, I understand this hope to be related strongly to religion. Perhaps it is because the state of Bahia is at the centre of Afro-Brazilian culture and that the Baianos (as the people are called) practice religious and festive traditions that go back to their African ancestry. While I was at the coast, I had the opportunity to experience three different celebrations of Iemanja (the goddess of the sea). In the region of Chapada Diamantina, I witnessed the preparation of the local Patron – a part of the Umbanda religious celebrations in one particular small village. Umbanda combines Catholicism, African, and Kardecistic religions and is headed by a Catholic saint (sadly I missed this celebration because of food poisoning).
Saudade is the word Portuguese colonists used to express their longing for their mother country; it is considered a melancholy nostalgia for something that may not have even happened and thought of as a central element of the Portuguese soul. It is said that this was the same feeling that was intrinsic to the African population that arrived in Brasil as slaves and who were sick and nostalgic for the homeland from which they were uprooted. It continues today as the millions of Afro-Brazilians hold on to their culture, religion, and traditions. And yet, nevertheless, I was able to see how these utterly impoverished people are able to find love and joy in the everyday, despite acute daily hardship. They are extroverted, are touched by the mystical, and ache for something long-gone. Looking at my photographs, with the distance of just a few weeks, I see that much of what I caught on camera was a mere glimpse of narrow lives, people with a shared past, a long history but an uncertain future.
“The famous saudade of the Portuguese is a vague and constant desire for something that does not and probably cannot exist, for something other than the present, a turning towards the past or towards the future; not an active discontent or poignant sadness but an indolent dreaming wistfulness.” (https://en.wikipedia.org/wiki/Saudade)
“Old paint on a canvas, as it ages, sometimes becomes transparent. When that happens it is possible, in some pictures, to see the original lines: a tree will show through a woman’s dress, a child makes way for a dog, a large boat is no longer on an open sea. That is called pentimento because the painter ‘repented,’ changed his mind. Perhaps it would be as well to say that the old conception, replaced by a later choice, is a way of seeing and then seeing again… The paint has aged and I wanted to see what was there for me once, what is there for me now.” – Introduction to Lillian Hellman’s Pentimento
I just finished the second of two back-to-back photography workshops with Ernesto Bazan (this one in Chapada Diamantina, Bahia, Brasil). We visited families in Arandai and Velho Mocambo(?), explored a few out of the way places (i.e., at the end of long, dry, pocked, iron-filled dirt roads), and had the opportunity to watch a celebration of Umbanda. It was quite overwhelming as children from the homes we visited, ran around posing and trying to grab each photographer’s attention. Multiple generations live together, and both calm and pandemonium abound. Likewise, the festivities we witnessed had equal shares of order and chaos. It was easy to get lost in the throes and, as a photographer, to lose intention.
Focusing (no pun intended) is difficult. It is a trait that I must nurture, when a great deal of activity surrounds me. I have to remember to do what I am naturally inclined toward, rather than be swallowed up by the waves of movement around me (or, alternatively, do what I think is expected of me when I take pictures with other photographers). When I heed my own voice I tend to turn in a different direction from others. I do not do this to be contrary or non-conformist but rather to find my own space. I get lost in the details, layers, cracks, and crevices, rather than be swept away by the whole; I go at my own rhythm. Looking until something – almost always intangible – captures me. I then try to transform that particular something into an image.
After initial inner struggles (and many poor shots thanks to these fights with myself) what calls to me are typically the quieter and less certain spaces of my surroundings – the things that can be overlooked because they may be too quotidian or too spare. But, I respond to these with my heart – they feel like psychological layers. It is a dance between “me” and “object” – and I explore the space where we intersect. How it manifests itself to me and then how I translate that feeling into image is unclear to me (at least for the moment.) I simply allow myself to be carried with it and go with the grain. Like saudade or pentimento, the photograph becomes an utterance detached from context, thereby giving it a unique integrity and opening it to abstract or new meaning.
This trip to Brasil was an eye-opener for me on a few levels. I felt that I was walking on a tightrope in both the country and my work. In regard to the Brasil, I became very conscious that behind the myth of a magical/spiritual Bahia lies a very difficult, and sometimes unbelievably harsh, world of poor, landless, and/or homeless people who suffer yet are determined to surmount obstacles. They struggle daily to survive – and do not always succeed.
With this as a background, it seems almost trite to talk about my photography. But I am discovering that the pictures I take are responses to the spaces and places where I work in. During these weeks in Brasil I figured out that I must feel comfortable in my own skin and do what is right for me. It is something I always know but do not always allow myself to remember and act upon. In Brasil I felt strong links to saudade, something that escaped me entirely when I visited the country in 2015. After a while it was difficult not to see it everywhere. Yet, despite the melancholia there is strength and hope that seems to prevail even under some of the more dire circumstances.
My work is not straight documentation but, rather, a subjective (and limited) description of experience. In framing the material subject of a photograph I express an embodied tactile knowledge – it is a gesture toward turning familiar places and objects into visceral experiences. But my photographs barely scratch the surface (or layers) of this state of being, of saudade.