The fields of anthropology and sociology have evolved significantly, incorporating visual data and materials as integral components of their study. This expansion encompasses the creation of anthropological media, including ethnographic films and photography, as well as the examination of existing media within anthropological inquiries. Scholars in these fields carefully analyse how visual data is generated and how it serves as a reflection of societies and their people.

Traditionally, ethnography focused on the study of cultures and social practices. However, the emergence of visual ethnography has broadened this scope, enabling a comprehensive understanding of cultures through various visual elements, including photographs, films, artefacts, clothing, structures, and rituals, among others.

Images, particularly, play a significant role in shaping our identities, narratives, lifestyles, cultures, and societies. They contribute to our understanding of history, space, and reality. Within the realm of ethnographic research, socio-cultural representations and visual images form an essential part of the scholarly discourse. How an ethnographer perceives and observes a society becomes a crucial aspect of understanding cultures, as emphasized by Pierre Bourdieu’s observation that images produced by individuals inherently reflect the shared norms of society, rather than just the perspective of the photographer. In her work “Anthropology and Photography” (1994), Elizabeth Edwards sheds light on the crucial role of photography in recording ethnographic data. Photography has long been regarded as a reliable reflection of reality, serving as tangible evidence of historical narratives. With advancements in technology, photographs have transcended their temporal constraints, inviting various interpretations and subjective representations of reality, as discussed by Scherer (1990).

Kyle Jackson’s work Hearing Images, Tasting Pictures: Making Sense of Christian Mission Photography in the Lushai Hills District, Northeast India (1870-1920) exemplifies the application of historical photographs in anthropological research. Through the analysis of a single photograph from 1913, Jackson delves into the social and cultural dynamics of that era. He emphasizes the significance of understanding the wider context surrounding the image, beyond the visual representation itself, and the multifaceted layers of meaning that can be extracted from it.

In his analysis of the photograph depicting the interior of Aijal’s flagship Mission Veng Church, Jackson sheds light on various aspects of the society at that time. The structure of the church, the seating arrangements, and the tactile elements within the image provide valuable insights into the hierarchy, social practices, and cultural assimilation influenced by the missionary presence. He elucidates how the missionaries’ interventions brought about changes in the local customs and norms, such as the prohibition of alcohol in churches and the adoption of Western attire by the Mizo men. The examination of the photograph also reveals the subtle yet profound changes in language and religious practices, as demonstrated by the use of the term ‘chibai’ in the missionary context, which was previously associated with a different cultural connotation. Furthermore, Jackson explores the concept of ‘Mizo harhna’ and its significance in the religious experiences of the indigenous population, providing a nuanced understanding of the spiritual practices and beliefs of the community.

By utilizing this historical photograph as a primary source, Jackson successfully constructs a narrative that transcends conventional historical accounts, providing a comprehensive understanding of the complex interplay between indigenous traditions and the influence of Western missionary endeavours in the Lushai Hills. Moreover, the study of photographs as part of an ethnographic project necessitates a nuanced understanding of the diverse perspectives and interpretations that contribute to the construction of historical narratives. These images not only reflect the socio-cultural realities of the past but also serve as a powerful tool for analysing the dynamics of power, knowledge, and experience within colonial contexts.

Acknowledging the limitations of photographs in capturing the complete social reality, the author emphasizes the need to consider the inherent biases and complexities associated with colonial documentation. By delving into the subjective interpretations and underlying motives of the colonial gaze, the author unveils the multifaceted nature of visual images and their role in shaping historical discourses.

The comprehensive analysis of historical photographs as primary data underscores their significance in unravelling the complex layers of cultural, social, and political dynamics within specific historical contexts. By critically examining visual materials and acknowledging their inherent complexities, scholars can uncover the nuances of cross-cultural interactions and the multifaceted experiences that contribute to the construction of historical narratives.

References:

● Barthes, R. (1993). Camera Lucida (R. Howard, Trans.). Vintage Classics.

● Edwards, E. (1992). Anthropology and Photography 1860-1920. New Haven: Yale University Press. London.

● Gordon, A. F., & Radway, J. (1997). Her Shape and His Hand. In Ghostly Matters: Haunting and the Sociological Imagination. Pp. 3-29. University of Minnesota Press.

● Jackson, K. (2015). Hearing Images, Tasting Pictures: Making Sense Of Christian Mission Photography In The Lushai Hills District, Northeast India (1870-1920). In M. Kominko (Ed.), From Dust to Digital: Ten Years of the Endangered Archives Programme. 1st edition. Pp. 445–486. Open Book Publishers.

● Pink, S. (2013). Doing Visual Ethnography: Images, Media and Representation in Research. New Delhi: Sage Publications.

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Chinggelniang is a PhD Candidate in Sociology at the Department of Humanities and Social Sciences, Indian Institute of Technology (IIT) Delhi.