Women Are Heroes – Kibera, Kenya
Oct 7th, 2009 by Amanda Yogendran
JR ArtNet is a renowned French photographer that is known for his intimate portraits. His latest exhibition, “Women are Heroes” is an unconventionally displayed in some of the world’s biggest slums in Kenya, Brazil, India and Cambodia. These are slums where women are economically marginalized, often unemployed while raising 3 or more children. JR displays portraits of local women with the goal of voicing their struggle, not only to an international audience but also within these slums. His entire website is in French, however go take a look at his gallery and other videos: http://www.womenareheroes-paris.net/
The question that keeps getting brought up in class is how do we let the subaltern speak if all that is recognized is Western discourse and academia? I think that art and music are valuable universal modes of expression, breaking barriers such as culture, gender, class or race. The premise of the entire campaign is in the video on this page: http://www.womenareheroes-paris.net/fr/guide-interactif/ if you want to take a look.
This specific video is in Africa’s second biggest slum, Kibera, located just outside of Nairobi, Kenya. Overcrowding is prevalent in Kibera, where 1 million people inhabit a 2.5 square kilometer area. NGO’s and International Agencies have deemed overcrowding as the biggest “problem” of Kibera. Because of the high prevalence rate of HIV/AIDs (approximately 50%), young women are often widowed and left as the primary caregiver of 4 or more children. The interview of the women at the start of the video is a widow in Kibera.
JR’s exhibition is more than just a struggle for gender equality in developing countries. These pictures are meant to demonstrate that despite much suffering, these women are still full of life, putting a face (literally) to the subaltern. One of the last post’s was about Palestinian youth’s struggle with the political climate, this video on the other hand focuses on vitality in the midst of what Western views call an oppressed life. Often developing countries are homogenized as being dismal places, “Women are Heroes” alternatively individualizes women by portraying their animated emotions. Here is the full interview with the women at the start:
http://www.dailymotion.com/video/x8390w_interview-women-in-kibera_creation?from=rss
Some Current Events:
Until recently, the Kenyan government refused to acknowledge the EXISTENCE of Kibera. One couldn’t even find it on a map of Nairobi (a notable example of political influences on geography). However, in the last couple weeks the government, backed by the United Nations, has developed apartment buildings on the border of Kibera (conveniently placed so that Kibera is not visible from the city of Nairobi anymore). A “slum upgrading” program has been initiated, moving families into these apartments. In all this, what has been ignored is the voices of the residents actually living in the slum. Here is an article from BBC that I think has an ethnocentric perspective, however is useful: http://news.bbc.co.uk/2/hi/africa/8258417.stm
Based on recent happenings in Kibera, it seems to me as though the subaltern within Kenya is not being heard. JR’s campaign may not directly articulate opinions to lobby the Kenyan government; however it serves to empower women who have otherwise been silenced and under-appreciated.
I spent this last summer working in Kibera so I definitely have an emotional attachment to this area, meaning my experiences and understanding of Kibera has constructed my opinion of the video and news story. Given this, I would love to hear critical comments on JR’s exhibition as well as the slum upgrades.
5 Responses to “Women Are Heroes – Kibera, Kenya”
The shots at the end of the train and the faces are *amazing*! Everyone should watch this one!
I wonder who the exhibit is really “for”. For the people in the marginalized community of Kibera? Or for people who would otherwise never pay attention to images of that community, to that reality, unless it is “art”. But the artist is at least then getting them to pay attention to the community, and in that way helping to open space for their voices.
This is a beautifully shot video (as are the portraits themselves), but it neither gave voice/made space nor did the women in the video (or the issues it claims to address) sufficient justice.
My gut reaction to this is that it seems more like a self-serving project for the artist (there’s nothing inherently wrong with that – art doesn’t have to be altruistic – but why title it “Women Are Heroes” when how or why they are heroes isn’t even directly acknowledged?). It is absolutely true that as the video in the campaign page (linked here: http://www.womenareheroes-paris.net/fr/guide-interactif/) states, women are discriminated against in peacetime and are targets in war. I don’t think the portraits get that message across though. Again, that second video that you linked was essential to really understand what was behind the photos but from what I could gather out of the website, it looked like JR simply pasted the images of the women around Paris (as well as Kibera) without further explanation. I just wonder how effective this medium is if JR’s intention is to draw attention to gender inequality, life in slums, and the effects of war. I also doubt that this is a way for the subaltern to speak, although I might feel differently if the project were undertaken by a native Kiberan. Art and music are valuable, universal modes of communication, but aside from the interviews (which I’m assuming the average Parisian viewer would have to go out of their way to find) this exhibit doesn’t let the subaltern speak. It isn’t enough to merely put a face to the subaltern. And the idea of the artist getting credit for this and possibly gaining financially from this (correct me if I’m wrong) is problematic.
Also, Sara makes a really good point – the images on the rooftops make me question who this project really is for when you can only get a full appreciation for it from a few hundreds of feet in the air.
I don’t mean to sound like such a downer over this. There are aspects about this project that I like. JR obviously had good intentions with this exhibit. I guess I’m just nitpicking over its execution. Like you mentioned, it’s a welcome relief to see representations of the subaltern that don’t portray them as downtrodden victims, and I’m glad to see that the women who took part in the project seemed genuinely happy to do so (eg. in the footage of the photo shoots in the video on the campaign page). And of course, I do appreciate the emphasis on women.
Erin,
What you’re saying about a self-serving project definitely makes sense, but it makes me wonder what altruistic development work isn’t self-serving or self-satisfying? Yes JR may have used this campaign to further his career but I don’t think that should take away from the campaigns valuable message.
I posted the video in Kibera and not the original video so that it would get people’s attention without them knowing the story behind it first, just as people who live in Kibera see the portraits ever day and I’m sure don’t know the exact story behind the portraits. I wanted to trigger people’s curiosity so that they would learn more about the campaign, just as the pictures in Kibera intrigue local citizens to learn more about the women in their community. I’m really glad you took the time to look at it!
Like I said before, it doesn’t necessarily let the subaltern speak but I believe that it does create room for subaltern voices. If JR had interviewed all of the women and posted videos instead of the pictures there would still be a danger of their true voices being skewed with editing. So the campaign isn’t meant to necessarily force people in Kibera or Paris to listen, but rather to acknowledge the subaltern. I think this campaign focuses on acknowledgement and empowerment, two key steps before ensuring that the subaltern is heard.
Also the rooftops that JR placed these portraits on can be seen within Kibera, because the slum is situated in a giant valley/ditch, the portraits are visible from many places in Kibera. I was there this summer and saw all of these portraits every day on my way to work. It was inspiring watching little boys and girls stop and stare and the pictures, intrigued by these women.
I hope this helped!
Wow, I’m really impressed with the visuals in this video, and the dramatic art form that JR presented the women of Kibera through. Also, Amanda, I found your connection with this region and the project in the video really helpful in gaining insight and context. I think that there are a lot of reasons to be critical of this project, such as the politics of art and danger in representing others, as well as questioning the ability of this project to enact positive change. However, I think that the remarkable imagery and unconventional method of portraying the women of Kibera does have something to offer in opening up spaces. I don’t think this is something that most people have seen anything like before, and it definitely intrigued me to look further into both the art project and the redevelopment of the slums. Also, viewing the people in the video watch the images on the train go by, Amanda’s mention of children staring at the pictures, and the interview with the woman in the beginning of the video give me the impression that one of the most important elements of this project could be its ability to prompt discussions within Kibera, Kenya and in elsewhere in the world.
I’ve been so passionate about this project I realized I haven’t stepped back and really looked at it critically. Your right Elizabeth, JR’s campaign does pose danger of misrepresenting the other. If only a small number of women are empowered with these portraits it may cause other women to feel marginalized and ignored. So there is a danger of tokenizing the women that are in the pictures.
One of the things I liked most about the campaign was how JR purposely makes himself visible in the process of taking pictures and putting up the art. Although this may be because he wants to earn credit for the project, I think that his obvious presence is important in order for the viewer to understand that our view of the subaltern has been altered by European artists/editors. Although in the Kibera video specifically, JR seems to be invisible to the viewer, directing but from behind the scenes which runs the risk of misrepresenting the other.