Paper short abstract:

This paper proposes a multi-faceted approach towards the analysis of the photographic representation of refugees in examining photographs from different categories of photographic representation in the Dadaab refugee camp.

Paper long abstract:

Photographic representations contain the ideologies, interests, perspectives or notions of their particular producers. Thus, when there are numerous actors representing refugees, their photographic representations can be grouped into their respective categories in order to illuminate the underlying features that influence their production. In the Dadaab refugee camp in Kenya, four different categories of Media representation, Commissioned photography, Themed photography, and Refugees' self photography were identified. An analysis of the four representational categories offers comprehensive information concerning the refugees. Studies on representation however have in most cases focused on one category of representation at a time while not examining all available representational categories collectively (Moyo Okediji 2003). The case has often been to focus on media representation for example, at the expense of self representation, and the vice versa is true. This has often led to the privileging of self-representation as emancipatory and capable of transforming the stereotypical mass-media representation subjects have been rendered. Using the photographic work on refugees in Dadaab refugee camp in Kenya, the paper proposes a shift from such a trend towards a collective analysis of all the available representational categories of refugees in the camp, with the aim of not merely comparing, nor giving preference to any of the categories, but through a pluralist approach, highlight their inherent dynamics and appreciate all as building blocks towards a broader understanding of the photographic representation of refugees.