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Snap Shots: Using Photographyfor Intercultural Awareness andUnderstandingLuisela AlvarayPublished online: 10 Dec 2013.

To cite this article: Luisela Alvaray (2014) Snap Shots: Using Photography forIntercultural Awareness and Understanding, Communication Teacher, 28:2, 109-116, DOI:10.1080/17404622.2013.865770

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Snap Shots: Using Photography forIntercultural Awareness andUnderstandingLuisela Alvaray1

Courses: Multiculturalism and Media, Intercultural Communication, Study Abroadprograms, any course that deals with cultural difference and attempts to create someform of intercultural awareness and understanding. This is a semester-long activity.Objectives:

. Students will identify social markers of cultural difference in their own environmentor abroad by creating their own photographic portfolio and analyzing it critically.

. Students will compare the photographic images they captured with media stereotypesof a different culture in order to build criteria for understanding and criticizingvisual representations.

. Students will process awareness of self and of their intercultural experiences bywriting a photo-essay to accompany their photo project.

. At the end of the activity, students will have a better understanding of how creatingvisual images of places, cultural products, and people may help to limit or stimulate abetter understanding of cultures different to one’s own.

Introduction and Rationale

Watching images through mass media presents a challenge for understanding thecomplexities of different cultures within and outside the United States. Photographicimages, in particular, are ubiquitous in our mediated world, populating old andinteractive media and many times serving to perpetuate established codes ofunderstanding and action. The power of photography lies in its emotional force(Sontag, 1977), but it also lies in its capacity to represent the world in a cloak ofapparent authenticity. In other words, as a visual language, photography’s construct-edness is not necessarily noticeable, and particular interpretations may circulate as

1Luisela Alvaray, College of Communication, DePaul University, 1 E Jackson Boulevard, Chicago, IL 60604,USA. Email: lalvaray@depaul.edu

Communication TeacherVol. 28, No. 2, April 2014, pp. 109–116

ISSN 1740-4622 (print)/ISSN 1740-4630 (online) © 2013 National Communication Associationhttp://dx.doi.org/10.1080/17404622.2013.865770

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common truths—even though interpretation depends upon the social and culturalframeworks of knowledge of the beholder (Berger, 1972; Devereaux & Hillman,1995). Therefore, many times, simplistic representations of other cultures aredisseminated through the mass media without challenge. Visual literacy is, hence,an important tool for critically decoding images and for deconstructing culturalstereotypes (Kellner, 2010).

With regard to the representation of Latinos and Latin Americans, for instance,many works have emphasized how visual media continue to reproduce simplistic andahistorical representations—homogenizing a group of peoples that only in the UnitedStates are already heterogeneous and multifaceted (Marambio & Tew, 2006; RamírezBerg, 2002). In the same vein, images of other cultures, or ethnic minorities, seem tobe typically simplified to repeated constructs, such as the image of Asian Americans(Chou & Feagin, 2008; Zhang, 2010), of Muslims (Jackson, 2010; Nurullah, 2010),and of Native Americans (Pearson, 2001, Rollins & Connor, 2003), among others.

Beyond solely analyzing visual images, this exercise attempts to generate a differentunderstanding of cultures by asking students to create visual representations anewand find links that connect their experience with what they see and capture.Therefore, in the creative act of producing a photographic portfolio and anaccompanying essay, students develop a deeper understanding of cultural difference.In this sense, Mikhail Bakhtin (1986) emphasized that when two different culturesengage with each other—when they are in dialogue—a profound knowledge about thecultures may arise. Such dialogism is what Bakhtin called creative understanding. Hesustained that through a creative engagement with a different culture: “We raise newquestions … we seek answers to our own questions in [the other culture]; and theforeign culture responds to us by revealing to us its new aspects and new semanticdepths” (p. 7). The creative experience of photography helps to articulate a complexreality, and may help students become more aware and understanding of difference.It is a means to develop new ways of seeing and to contribute to decenteringprivileged ethnicities.

This activity needs to be developed in four parts. They constitute necessary steps toengage in the creative process and acquire the understanding and knowledge thatcomes with such an engagement.

The Activity

Students will need any kind of device that captures digital photographs and can bedownloaded to a computer. While cameras may be easier to handle and may havemore storage capability, the purpose of the activity can still be accomplished with lessspecialized photographic devices, such as mobile phones or tablets.

The professor should select an area where a large population of people with a uniquecultural heritage reside and carry on their daily activities. In Chicago, for example,Pilsen and Humboldt Park are neighborhoods where Mexican-Americans and PuertoRicans, respectively, have expanded their cultures from beyond areas of privacy topublic spaces. We can also imagine developing this activity along Devon Ave, or in

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Naperville, Illinois, where people of Indian descent live and work. If a study abroad,historic sites and other physical spaces where culture and history have left significantmarks could be selected. It is best if there is a contact person from the area to guide thestudents during the field trip. This could be a person from a reliable institution or not-for-profit organization, a teacher from a local school, or a community leader, forinstance. The contact person could both introduce the students to other people fromthe area and help students contextualize some of what they observe.

Part One: Discussion

The first part of the activity involves a preparation before going on the field trip.Students should discuss essays that provide some of the history and social structuresof the cultural group that will be the focus of their lens, information about the processof stereotyping itself and, finally, about the necessity of developing visual literacy. Thediscussion will offer a needed theoretical background for the experience on whichstudents will embark.

Kellner (2010) is an accessible piece connecting media representations to the self-construction of identities and locates media criticism within the discipline of culturalstudies. It should enable students to envision their photographic sessions asexplorations over cultural meanings while generating alternative images and mean-ings. Following the example of the Latino population, some suggested readings couldbe Lozano (2000) and Gangotena (1994). These articles enable students to realize thatthere are different ways in which people define public and private spaces. Lozano(2000) describes cultural patterns of behavior for Latin Americans and AngloAmericans—centering on the ways the body is understood in relation to the Other.Gangotena (1994) explores assumptions and expectations about family relations forMexican-American and Euro-American communities. Finally, Ramírez Berg (2002)provides students with the critical tools to understand how stereotypes work and aresocially transmitted. A discussion of this article should involve three main goals:identifying visual stereotypes, learning how they are socially constructed, and findingstrategies to defy them.

Part Two: Field Trip

1. Arrive with the group of students to the selected site. Ideally, a contact person iswaiting to answer students’ questions and introduce them to other residents ofthe area.

2. Contingent on the place and the demographics, students could be divided intosmaller groups of two to three people.

3. Have students take pictures of what they may find unique or simply differentfrom what they know. This could include capturing physical spaces, architecture,signs, art, streets, stores, people, food, rituals, ongoing events, casual activities, andrandom acts, for instance. Emphasize that they should be looking beyond thetraditionally beautiful and beyond simplistic visual signs. This exercise is for

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students to attempt to see differently. Sometimes a close up on a detail may bemore meaningful that an open shot. In an ongoing event, sometimes what ishappening in the margins may be more significant than the event itself. Thecontact person could guide students as to some visual cues that may expressparticular aspects of the culture they are exploring. If taking photographs ofpeople, it is important for students to be courteous and respectful at all times.

4. Each group of students could engage with at least one person from the area.(Could have been previously organized with the contact person, or could bespontaneous encounters). These encounters could be part of what they aredocumenting with their photographs.

5. Students should stay on location for approximately three to four hours.

Note 1: It is not necessary that the professor be involved in this part of the activity.However, the professor should be aware that the experience differs with her/hispresence or absence. Some students rely on her/him as another mediator into the lessknown. The contact person, nonetheless, can perfectly well have the role of mediatorthat some students seek.Note 2: As with any students’ outing, check with your institution regarding safetymeasures during field trips.Variation 1: The members of the student group could arrive at the scene bythemselves (without the professor). In this case, it is important that they have directcommunication with their contact person.Variation 2: Give students the chance to come back to the area one or two moretimes.

The Field Trip: A Word about Ethics

In today’s media conscious society, while there are cameras everywhere, takingphotographs in public spaces poses a challenge regarding people’s right to privacy.Taking photographs is like any other human interaction. Although it is legal in mostcountries to photograph someone in a public space, it goes with the general objectivesof this activity to be respectful and attentive to people’s preferences. Thephotographer has an important responsibility when deciding what he/she captures.Therefore, when the subject involves people, being courteous and friendly should beself-evident. When framing close shots, asking for permission and explaining thenoncommercial purpose of the activity may be key in maintaining a relationship ofmutual respect. Generally, students should act responsibly and conscientiously. Isuggest that students read the “Code of Ethics” of The National Press PhotographersAssociation (NPPA). For a more extensive discussion on ethical issues, see Gross,Katz, and Ruby (1988).

Part Three: Processing the Photographs

1. Previous to this session, students should have downloaded their photographs andselected between 20 and 30 that they found significant.

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2. This is a creative assignment. Therefore, during this session, the students alongwith the professor should brainstorm while looking at the images, so as tocollectively suggest possible themes to work in their photographic essays. Takingturns, each student projects her/his selected pictures to the rest of the class whilereferring to the whole experience. Have fellow students comment on the visualcues that they find noteworthy. This interaction helps the presenter findingthemes that may not have been obvious. The themes should be motivated by thepatterns detected while observing the photographs, the knowledge they gainedthrough the readings, and the interactions with people from the area. Examples ofsome of the themes worked by my students are: identity through portraiture,between public and private spaces, signs of appreciation of history and culture,economic hardships/honest jobs, confluence of the old and the modern, family/community experiences, and the vibrancy of color in everyday life.

3. Students should take notes on the comments and suggestions of fellow studentsand the professor. The objective of this activity is for each student to find a clearcultural topic represented visually through her/his photos. Such topic will be thebasis of the photo-essay.

4. Pose questions to provide students with different possibilities to interpret theimages and incite critical thinking. Examples are:a. What is the main subject of this image?b. What are secondary subjects?c. What does this particular point of view emphasize?d. If taken from a different point of view, would the meaning differ? How so?e. How does this image affirm/contradict a stereotype we have talked about?f. How is the use of space different/similar to the way we use spaces?g. What was your experience when taking this photograph?h. What did you find most engaging/difficult about taking photographs is

this area?i. How did you relate to the individuals residing/working in the area?j. How do colors/ lines/volumes relate in several of your photographs? What do

those relations suggest?

Part Four: Writing the Essay

The student will select five photos that capture one or two themes and write a four-to six-page essay that describes what he/she believes those photos captured, why theyare significant, and how they increase his/her understanding of the culture studied.To structure the essay, it is best to start with a general statement explaining thecommon themes that link the five photos to then analyze the photos one by one. Agood guiding tip is to give a name to each one of the photos. There are certainelements that will help students in the articulation of the essay. First, the readingmaterials discussed will provide the photo-essays with a more solid criticalbackground. Second, the interactions with the contact person and/or people fromthe area could offer unique depth and cultural understanding. Third, the discussion

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with the professor and peers might help to shed some light on particular photographsor situations.

Examples:

My students went to field trips in two different cities: Mexico City and Chicago. Thepoint was to better understand Mexican culture and Latino culture in the UnitedStates. Figure 1 shows one of Mary’s photographs, and this is what she wrote:

“Window into the Past” demonstrates the level of appreciation for history among manyof the Mexican people we interacted with. We could equate this to going to a historicaltouristic landmark in Chicago such as the Hancock tower [sic]. Rarely do inhabitants ofa city take the time to look deeper into the meaning of it. Watching various inhabitantsof Mexico take the time to look, and discover the connection between themselves andthe ancient pieces of history allowed me to see the beauty of my own culture in Chicago.

Jim took the photograph shown in Figure 2, and he wrote the following:

Many of the cultural interactions that I experienced during my brief visit to Mexicowere framed by Elizabeth Lozano’s observations in her article “The Cultural Experienceof Space and Body.” I found myself to be very much aware of my own constructedpreferences concerning personal space. The physical boundaries of my own personalspace, or at least those boundaries with which I have become comfortable, weretransgressed literally by those around me and symbolically by visual signs present inartwork, design, and temporal observation.

Debriefing

Students should meet one last time with the professor to present their photo portfolioand read their final essay. The final form of the project should be flexible. Students

Figure 1 “Window into the Past.” Courtesy of Mary Ferrill.

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could present a portfolio of images as prints, a multimedia presentation, or a photo-book. The professor could ask questions about the process, about cultural values, andabout their intercultural experience, such as:

. What did you learn about approaching other cultures?

. How do media constructions of this particular culture differ or not from your finalproduct?

. How did taking photographs contribute to observing with more detail aspects ofwhich we did not take notice before?

. How do physical spaces define human interactions?

Appraisal

Some students reported that the experience made them rethink the stereotypes ofother cultures they had in their minds. Others mentioned how the encounter sparkedsome forms of self-reflection about identity and their own place in the world. Thediscussions before the field trip helped students (literally and figuratively) frame theirphotographs with a different eye. Taking photos became a good tool to explore andbegin to understand cultural difference. Because a field trip is involved, manyunexpected things may happen, for which both the professor and the students have tobe prepared to be flexible and understanding—which is, in itself, an exercise thatcontributes to the whole intercultural experience.

Figure 2 The Zócalo. Courtesy of Jim Sandherr.

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Acknowledgements

This activity was conjointly designed with my colleague Barbara Speicher. I want to thank her forher wisdom, support and camaraderie. I also want to thank Jacqueline Taylor, former Dean of theCollege of Communication at DePaul University for her vision and for believing in this project.Last, but not least, my gratitude goes to Esther Quintero and our friends at PanamericanaUniversity, without whom this project would not have been as marvelous as it was.

References and Suggested Readings

Bakhtin, M. M. (1986). Speech genres and other late essays (V. W. McGee, Trans.). Austin, TX:University of Texas Press.

Berger, J. (1972). Ways of seeing. London: Penguin Books.Chou, R., & Feagin, J. R. (2008). The myth of the model minority: Asian Americans facing racism.

Boulder, CA: Paradigm.Devereaux, L., & Hillman, R. (Eds.). (1995). Fields of vision: Essays in film studies, visual

anthropology, and photography. Berkeley, CA: University of California Press.Gross, L., Katz, J. S., & Ruby, J. (Eds.). (1988). Image ethics: The moral rights of subjects in

photographs, film and television. Oxford: Oxford University Press.Gangotena, M. (1994). The rhetoric of la familia among Mexican Americans. In A. Gonzalez,

M. Houston, & V. Chen (Eds.), Our voices: Essays in culture, ethnicity, and communication(pp. 69–80). Los Angeles, CA: Roxbury.

Jackson, L. (2010). Images of Islam in U.S. media and their educational implications. EducationalStudies, 46(3), 3–24. doi:10.1080/00131940903480217

Kellner, D. (2010). Cultural studies, multiculturalism and media culture. In G. Diles & J. M. Himez(Eds.), Gender, race, and class in media: A critical reader (pp. 7–18). Thousand Oaks,CA: Sage.

Lozano, E. (2000). The cultural experience of space and body: A reading of Latin American andAnglo-American comportment in public. In A. Gonzalez, M. Houston, & V. Chen (Eds.),Our voices: Essays in culture, ethnicity, and communication (pp. 228–234). Los Angeles, CA:Roxbury.

Marambio, J. L. & Tew, C. (2006). The Promised Land: Resonance and dissonance of Hollywood’sportrayals of Latin Americans in film. Studies in Latin American Popular Culture, 26,119–139.

The National Press Photographers Association (NPPA). NPPA Code of ethics. Retrieved fromhttps://nppa.org/code_of_ethics

Nurullah, A. S. (2010). Portrayal of Muslims in the media: “24” and the “Othering” process.International Journal of Human Sciences, 7(1), 1021–1046.

Pearson, R. (2001). Indianism? Classical Hollywood’s representation of Native Americans. InD. Bernardi (Ed.), Classic Hollywood, classic whiteness (pp. 245–262). Minneapolis, MN:University of Minnesota Press.

Ramírez Berg, C. (2002). Categorizing the other: Stereotypes and stereotyping. In Latino Images inFilm: Stereotypes, Subversion, Resistance (pp. 13–37). Austin, TX: University of Texas Press.

Rollins, P. C., & Connor, J. E. (Eds.). (2003). Hollywood’s indian: The portrayal of the NativeAmerican in film. Lexington, KY: The University Press of Kentucky.

Sontag, S. (1977). On photography. New York, NY: Farrar, Straus and Giroux.Zhang, Q. (2010). Asian Americans beyond the model minority stereotype: The nerdy and the left

out. Journal of International and Intercultural Communication, 3(1), 20–37. doi:10.1080/17513050903428109

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