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Challenging the frivolities of power: the ubiquitous camera and Nigerian political elites

Published online by Cambridge University Press:  14 May 2019

George Emeka Agbo
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Abstract

The last decade has witnessed the ubiquitous presence of camera devices, from conventional cameras to communication gadgets (such as mobile phones, iPads and tablets), built with the capacity to produce, edit, disseminate and interact through photographs. In this article, I analyse visual materials circulated on Facebook, YouTube and Nairaland (a locally popular social-networking website used by Nigerians) to demonstrate how the ubiquity of the camera, its overt and surreptitious use, and the transformation and circulation of the resulting photographs constitute political acts in a postcolonial African context. The camera's ubiquity encompasses the increasing availability of photographic devices, but also the growing, and politically charged, inclination to put them to use, framing the world through which their users move. The production and dissemination of the resulting photograph gives it the status of an eyewitness account, amidst contestations that heighten its force as political articulation. Lastly, the ubiquitous camera is a means through which the public observes, polices and exposes the duplicity of state functionaries. The article contributes to an understanding of the ways in which digital infrastructure allows public access to the political undertaking of photography.

Résumé

On observe depuis dix ans l'omniprésence des appareils photographiques, qu'il s'agisse d'appareils photos conventionnels ou de gadgets de communication (tels que téléphones portables, iPads et tablettes), permettant de produire, de modifier et de diffuser des photos, et d'interagir par leur biais. Dans cet article, l'auteur analyse le matériel visuel qui circule sur Facebook, YouTube et Nairaland (un réseau social en ligne très utilisé localement par les Nigérians) pour démontrer comment l'ubiquité de l'appareil photo, son utilisation non dissimulée ou furtive, et la transformation et la circulation des photos qui en résultent constituent des actes politiques dans un contexte africain postcolonial. L'ubiquité de l'appareil photo englobe la disponibilité croissante des appareils photographiques, mais également la propension croissante et politiquement chargée à les exploiter, en cadrant le monde dans lequel évolue l'utilisateur. La production et la diffusion de la photo qui en résulte lui donne le statut de récit de témoin oculaire, sur fond de contestations qui renforcent son articulation politique. Enfin, l'appareil photo omniprésent est un moyen par lequel le public observe, contrôle et expose la duplicité des fonctionnaires d’État. L'article contribue à comprendre la manière dont l'infrastructure numérique permet au public d'accéder à la fonction politique de la photographie.

Type
Photographies in Africa in the digital age
Information
Africa , Volume 89 , Issue 2 , May 2019 , pp. 286 - 302
Copyright
Copyright © International African Institute 2019 

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