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Interview with Patrick Wilocq
We interviewed Patrick Wilocq, a French photographer, who will present the work “Superwalés” during the second edition of SAN JOSÉ FOTO. Patrick spoke among other things about how photography changed his professional life and reconected him with Congo DR, his relationship with Ekonda’s pygmies tribe and the ritual of Walé mom’s that inspired the series Superwalés.
How and when did you become a photographer?
I’ve been a self-taught photographer for the past 25 years, I navigated between my professional career and my photographic hobby for many years. I used to work for multinationals, helping them to build their businesses in Asia Pacific. When I had free times I would pick up my camera and shoot. I grew increasingly frustrated at not having more time to dedicate to photography. In 2009, I went back to Congo for the first time in 27 years and totally reconnected with myself. On my way back to Hong Kong I told myself in the plane that I would give up my life in Asia and become a Photographer. It took me 2 years to unplug and reinvent myself.
What’s is your relation with DR Congo?
I grew up there when I was a kid (at the time Zaire). I love this country. I feel totally at home when I am in remote villages, working with local communities. I was also tired of images that stigmatised the nation, so I started documenting indigenous culture and customs through carefully composed performative images, to take my images far from the usual hackneyed and clichéd depiction of D.R.C. and bring a fresh interpretation of Africa.
How did you meet the Ekonda pygmies and the ritual of the nursing mom’s Walés?
I stumbled upon them by luck. One day I took a track and ended up face to face with a red woman. I had no idea who she was. Then i learned that The Ekondas believe that the most important moment in the life of a woman is the birth of her first child.
The young mother, is called Walé (‘primiparous nursing mother’). She returns to her parents where she remains secluded for a period of 2 to 5 years. By strictly respecting several taboos during this whole period, including a taboo on sex, she is given a status similar to that of a patriarch. The end of her seclusion is marked by a dancing and singing ritual. The choreography and the songs have a very codified structure but are unique creations specific to each Walé.
I have always been fascinated by native tribes because I feel they have a wealth that we have somehow lost. To document this beautiful tribute to motherhood, fertility and femininity, I proposed to some Walés, whom I’ve known for over a year, to participate in staged photographs that bear witness to a part of their personal history. Each set-up worked as a visual representation of one of the subjects that the Walé would sing about on the day of her release from seclusion. So when looking at an image, you are in essence looking at a song.
About the work “Superwalés” how did you get this idea?
Through this project I wanted to transform today’s reality to help understand the beauty and difficulty of secluded first time pygmy mothers in Democratic Republic of Congo. It is a visual projection of what the Ekonda Walé motherhood ritual could become as it continues to resist and embrace pressure of modern life.
There are various rites in Africa that have disappeared due to colonization, religion, development, globalisation and so on. I am hoping this ritual does not disappear but wish for it to adapt while retaining its authenticity. For instance, the seclusion ending festival suitcase is a huge financial burden on the walé’s husband, and this aspect should be reformed.
What do you think can be the contribution of photography to discussions on gender, which is the theme of the festival this year?
I think as always photography can play a key role in creating the vision of the world we all want to see. I think photography can help people understand the complexity of the gender discussion. I also believe that photography can get invested people to come together and create change.
In latin america the gender discussion is getting stronger by these times, from your experience of having lived in different realities (Europe, Asia, Africa) did you see this discussion present, or you think it’s still weak on the most part of these societies?
I think the discussions are always present but they somewhat differ due to cultural differences. I am not sure that having one global discussion is the way forward. Each society must approach this discussion in a different way and pace.
Are you working on future projects?
Yes, finishing up the superwalés project. Got others also up my sleeves but too soon to tell as these are still in the process of maturing in my mind.
