Identity After Slavery
Nicola Lo Calzo’s layered and poignant portraits of people and customs shaped by the brutal Trans-Atlantic slave trade
Culture is a complex thing, especially when it is emergent from centuries of violence, oppression and bondage. The Atlantic slave trade moved millions of bodies and reordered the geographies of peoples and their customs. There are as many histories as there were individuals who lived and suffered, were bought and sold.
Photographer Nicola Lo Calzo has waded deep into this history for his ongoing project Cham. For five years, he has investigated slavery’s legacy in Africa, the Caribbean, the Americas and Europe.
“From the destruction and the uprooting imposed by the Europeans, to the conquered and deported peoples, the history of slavery is inseparable from the odyssey of Western colonialism,” says Lo Calzo. “But it is also the history of resistance to slavery.”
Elements of resistance are visible in the many visual cultures and traditions upon which Lo Calzo has turned his lens. There no longer exists clear icons or customs that are squarely of a singular experience or heritage. Over the centuries, and at different moments, descendants of slaves across the Atlantic region have won freedom, moved and settled, mixed, revived ancient traditions, and reclaimed symbols of the slavery era. Everything, visual culture included, is in constant flux.
“I’m interested in exploring through photography how and why these groups re-appropriate their slavery past, the ways and manners by which they are transferring this memory to the next generation, as well as its impact on modern societies,” says Lo Calzo.
The project Cham is made up of multiple chapters. Mas was made in French Antillas in collaboration with the Mas groups of Guadaloupe. Ayiti was shot in Haiti. The series Tchamba explores memory and experience in the African nations of Senegal, Ghana, Togo and Benin.
Complexity and Contradiction
During his work, Lo Calzo has encountered Creoles, descendants of revolutionaries, Voodoo practitioners and black resistance revivalists. Lineages and connections to past slavery are unique and differ greatly. Lo Calzo, who resides in Paris, likes to use the French word ‘metissage’ when discussing Cham and the communities it depicts. Metissage is a positive and politically-conscious term that celebrates diversity and the mix of race in culture.
“With all forms of creation and miscegenation, born as a result of the clash between the oppressed groups and the dominant system, the memory of slavery should be read and interpreted within this hybrid and metis universe,” says Lo Calzo. “It is characterized by ambiguity, mixture, juxtaposition and contradiction. I wish to make visible the connections — and also the contradictions — between these forgotten memories still living through the Atlantic world.”
To note the assimilation of colonial festivals, costume and figureheads is a potential political minefield. Yet, Lo Calzo is not celebrating the vestiges of Western colonizers. Rather, he is merely documenting them as fact. Sympathy toward, and faithfulness to, his subjects stories is Lo Calzo’s modus operandi. The African Yoruba and Nago communities in Benin and Togo have suffered especially, Lo Calzo has observed. So too, the Creole families of slave descendants in Guadaloupe.
Acknowledging Difference, Honoring Sameness
Cham emerges from Lo Calzo’s interest in the concept of ‘Otherness,’ which is defined as that which is alien and divergent from prescribed social norm or identity. ‘Otherness’ is the identification, definition and social categorization often of a supposedly inferior group — and, usually, to oppressive ends — by a dominant group.
“Colonialism is connected with the ideological construction of racism and the invention of the ‘Other,’” says Lo Calzo, whose reflections upon physical ability, race, gender, sexuality and ‘Otherness’ have been consistent throughout all of his photography series such as Morgante, The Promising Baby and The Other Family.
Whenever Lo Calzo travels he partners with local anthropologists, historians or associations. Recently, he worked with the Joan Mitchell Center in New Orleans and in French Guyana and Suriname he made photographs with the help of La Tete dans les Images. Such allies are important as many of his subjects — especially those who live in societies with racial tensions — are reluctant or unable to speak about slavery.
“To think about ones own enslaved ancestry can pose identity, social and existential problems,” he says. “Who I am? Where do I come from? How can I integrate my family past in my present? What can I do to transmit this memory to the next generation? Why does society still looks at me through the outdated racial categories? What I can do to change it?”
The success of Cham rests upon its breadth and the way Lo Calzo mirrors the complexity, and sometimes ambiguity, of history in his photographs. This complexity, though, does ask a lot of his audience. Lo Calzo’s greatest challenge is to tear down entrenched Eurocentric attitudes.
“We act and think through predefined categories of thought, without realizing that these categories are daughters of colonialism. They are no longer suitable for reading and interpreting the modern world,” explains Lo Calzo. “For example, in the western imagination, Haiti is a country of misery, a ‘neverland,’ a country without history. This dogma is obviously a falsehood created by the colonialist propaganda and integrated deeply into Western thought.”
Lo Calzo forecasts he’ll be making photographs for one more year to complete his complex statement. The entire project will be exhibited internationally in 2016, accompanied by book. The contribution is forever timely.
“The memory of slavery is a delicate subject,” says Lo Calzo. “The wounds of slavery are alive and present.”
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