<?xml version="1.0" encoding="UTF-8"?><rss version="2.0"
	xmlns:content="http://purl.org/rss/1.0/modules/content/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:atom="http://www.w3.org/2005/Atom"
	xmlns:sy="http://purl.org/rss/1.0/modules/syndication/"
		>
<channel>
	<title>Comments on: Engaging, not Exoticizing Human Rights</title>
	<atom:link href="http://el-oso.net/blog/archives/2009/10/28/engaging-not-exoticizing-human-rights/feed/" rel="self" type="application/rss+xml" />
	<link>http://el-oso.net/blog/archives/2009/10/28/engaging-not-exoticizing-human-rights/</link>
	<description>An Irreverent Look at the Glocalized World</description>
	<lastBuildDate>Wed, 01 Feb 2012 12:48:10 +0000</lastBuildDate>
	<sy:updatePeriod>hourly</sy:updatePeriod>
	<sy:updateFrequency>1</sy:updateFrequency>
	<generator>http://wordpress.org/?v=</generator>
	<item>
		<title>By: Robert Godden</title>
		<link>http://el-oso.net/blog/archives/2009/10/28/engaging-not-exoticizing-human-rights/comment-page-1/#comment-251032</link>
		<dc:creator>Robert Godden</dc:creator>
		<pubDate>Sat, 31 Oct 2009 04:52:43 +0000</pubDate>
		<guid isPermaLink="false">http://el-oso.net/blog/?p=1855#comment-251032</guid>
		<description>I agree that there are bad examples of documentary photography being used in social activism. Whether the work of Lorean Ros you mention fits into bad practice, both ethically and strategically I cannot say as I don&#039;t have the necessary information to fairly judge. From my experience over the last year there is a need for photographers and human rights organisations to work more closely in integrating photography into their projects. This entails more than just &#039;graphic &amp; compelling&#039; images to draw the eye and heart. It needs deeper strategic communication thinking about what you are trying to achieve and how images play a role in this. It also means looking at representation - the power relation between the subject, photographer and viewer. This is where participatory or community media initiatives can work well in combining with professional work. You can read more about my views on participatory photography on my blog in the article &#039;Jack of all trades, master of none?&#039; The history of documentary photography is littered with examples of exploitative work that seeks out the vulnerable for all the wrong reasons. However, the Open Society Institute has funded some very good pieces of work that use photography in integrated campaigns. One example is the recent work by Ed Kashi on the oil industry in the Niger Delta - &#039;Curse of the Black Gold&#039;. In the end photos are just one of many communication tools, and for some reason come under far more criticism (and have far more expectations attached to them) than they really deserve. Their greatest strength is not to purely witness but to bridge an empathetic gap that exists between the viewer and subject - when done successfully this can mobilise people for change who would normally be apathetic to an &#039;Others&#039; plight.</description>
		<content:encoded><![CDATA[<p>I agree that there are bad examples of documentary photography being used in social activism. Whether the work of Lorean Ros you mention fits into bad practice, both ethically and strategically I cannot say as I don&#8217;t have the necessary information to fairly judge. From my experience over the last year there is a need for photographers and human rights organisations to work more closely in integrating photography into their projects. This entails more than just &#8216;graphic &amp; compelling&#8217; images to draw the eye and heart. It needs deeper strategic communication thinking about what you are trying to achieve and how images play a role in this. It also means looking at representation &#8211; the power relation between the subject, photographer and viewer. This is where participatory or community media initiatives can work well in combining with professional work. You can read more about my views on participatory photography on my blog in the article &#8216;Jack of all trades, master of none?&#8217; The history of documentary photography is littered with examples of exploitative work that seeks out the vulnerable for all the wrong reasons. However, the Open Society Institute has funded some very good pieces of work that use photography in integrated campaigns. One example is the recent work by Ed Kashi on the oil industry in the Niger Delta &#8211; &#8216;Curse of the Black Gold&#8217;. In the end photos are just one of many communication tools, and for some reason come under far more criticism (and have far more expectations attached to them) than they really deserve. Their greatest strength is not to purely witness but to bridge an empathetic gap that exists between the viewer and subject &#8211; when done successfully this can mobilise people for change who would normally be apathetic to an &#8216;Others&#8217; plight.</p>
]]></content:encoded>
	</item>
	<item>
		<title>By: Lully desnuda</title>
		<link>http://el-oso.net/blog/archives/2009/10/28/engaging-not-exoticizing-human-rights/comment-page-1/#comment-250984</link>
		<dc:creator>Lully desnuda</dc:creator>
		<pubDate>Wed, 28 Oct 2009 19:14:35 +0000</pubDate>
		<guid isPermaLink="false">http://el-oso.net/blog/?p=1855#comment-250984</guid>
		<description>Dear David Thanks for this laudable video input and very well focused and we&#039;ve expanded the information.
Bst regards and big hug from Medellín!</description>
		<content:encoded><![CDATA[<p>Dear David Thanks for this laudable video input and very well focused and we&#8217;ve expanded the information.<br />
Bst regards and big hug from Medellín!</p>
]]></content:encoded>
	</item>
</channel>
</rss>

