Shooting in Zambia: (re)negotiating the colonial library through photographic practice

This thesis examines how critical creative practice research can question (neo)colonial visual representations and contribute to the development of decolonial photographic narratives of Zambia. In this study I developed collaborative research methods with Zambian photographers, who visually explore social and economic changes in Zambia, to create alternative images that challenge current representations. During the testing and evaluating of collaborative and decolonial creative research methods I emphasised the importance of information exchange between my own photographic practice and that of my Zambian colleagues. Extensive research has been conducted on the decolonization of photography. This research primarily focuses on existing visual material and archives rather than exploring the decolonizing methods of critical creative practice research. This thesis therefore addresses a major gap in research within the context of decolonisation of photographic practice. This study advances our understanding of the positive impact of a shared unlearning process on photographic practice and recognises the workshop as a research method. I employed a methodology grounded in action research developed further through decolonial methodologies of Grande’s Red Pedagogy and slow research, who advocate for ‘space of engagement’ and ‘involving the community in our research’ to build trust and empower all participants, including myself as researcher. The findings of the research illustrate how the impact of collaborative making and trust building allows for new knowledge to emerge that might influence how Zambia is represented and sees itself in the contemporary photographic record. Through three photographic projects I developed my positionality as a privilege-cognisant mentor that allows me to also recognise my limitation as an outsider researcher. In Generation Z, I advanced my own critical creative practice by unlearning persistent visual narratives of the continent, during Stories of Kalingalinga we established an ethical and collaborative artistic practice and PhotoCovidZambia created a unique and affective visual response to COVID-19. By bringing together aspects of Zambian photographic history and practice this thesis serves as a stepstone towards what I call visual self-governance.