ASSIGNMENT 4



The smile of the soul (Tukiki)

In the Malagasy language "Tukiki" means "smile".

 However the meaning of this word goes beyond the mere sense of smiling physically: it is the smile of someone who is happy and serene, even if it does not necessarily show it with a smile on his/her face.

 It is the smile of the soul.

 It is a pure expression, which links the soul to the outside world, without intermediaries and attitudes, without malice and hidden meanings, without conventions and semantic constraints, with simplicity.

 It is a purely positive expression, which transmits serenity and trust to the recipient.

 When I read about this word, I wondered if and when I met one or more people who sent me the smile of the soul.

 I thought of the Indian populations I met in Arizona, but, in reality, they have a way of communicating that I would call "impassive": they maintain the same facial expression, whether they are happy or sad, upset or worried, angry or calm. It is impossible to understand, if they do not communicate it with the word, and in any case it is difficult to understand their state of mind.

 I thought of non-humans, and the expression of a dog that looks at me happy, with shining eyes.

 Then, one day, I had the chance to read some poems written by the students of a secondary school on disability.

 http://www.ictavernolabergamasca.gov.it/attachments/article/354/Poesie%20e%20d%27intorni.pdf
(accessed on june 10 2019, 11 pm)


Reading those simple words I connected the "Tukiki" to the mentally disabled and their behavior, so devoid of any malice: and I realized that I had found the people and the smile I was looking for.

 I therefore thought of putting together some verses of the poems that I had read with portraits of disabled people, or rather disabled friends, whom I meet periodically.

 Although I have been participating in these events for many years, for the first time I have observed and photographed their faces with a different mood: paradoxically, I think I took a step back from being an insider, although I have been for a long time one of them, and then become an outsider,

 I opened a window on them, and it was a new experience, after so many years spent together.

 When I started making the first portraits, I had some difficulties, because a portrait requires a bit of discipline in the position and behavior of the subject, and my mentally disabled friends do not have any: they need physical contact and therefore they move, they come closer, they touch and perceive the camera as something that interferes between them and me.

 Others, on the other hand, have the innate ability to pose, but not for this reason they are less spontaneous and fresh in their attitudes during the photo shoot.

 All of them have the ability, in one way or another, to maintain and represent their identity, without mediations and cultural constraints, without attitudes and with extreme freshness.

 It was a wonderful experience and I'm happy to have been a part of it.

 In my opinion the words of the poems written by the school children give more power to the photos I have selected, because it is as if they gave voice to subjects who very often have great difficulty in communicating.

 Here the texts "pass ownership" from school children to disabled children, and this transfer process allows disabled children to affirm their own identity and the happiness of living it.

Image 1
La disabilità molte volte colpisce
le persone alla ricerca della semplicità e della felicità.

Visti da dentro penso che sono molto semplici.

Il loro cuore si illuminava quando una persona passava.


Disability often affects
people in search of simplicity and happiness.
From the inside I think they are very simple.
Their hearts lit up when a person passed.








Image 2


I disabili tante volte ti fanno paura
la disabilità non è per niente una sciagura,

ma in realtà loro vogliono solo essere tuoi amici

 e questo li rende molto felici.


People with disabilities often scare you
disability is not a disaster at all,
but in reality they just want to be your friends
 and this makes them very happy.






Image 3


Essere diversi non è una cosa bella
ma per i tuoi compagni brillerai come una stella.

 Scorgendo lo sguardo felice di una amico,
un sorriso ti illuminerà il viso.

Nel buio della diversità danzerà in fondo al tuo cuore

 un arcobaleno che ti renderà sereno!



Being different is not a beautiful thing
but for your companions you will shine like a star.
  Seeing the happy look of a friend,
a smile will brighten your face.
In the darkness of diversity,
 a rainbow will dance at the bottom
 of your heart that will make you peaceful!





Image 4



I disabili sono come noi.
Loro sono intelligenti
sempre con il sorriso,
ci capiscono e noi capiamo loro.
La disabilità è una cosa che fa pensar e il sorriso fa stampar.
Tenendoci per mano andremo lontano e felici li facciamo.
The disabled are like us.

They are smart




always smiling





they understand us and we understand them.



Disability is something that makes you think and smile makes you print.



Holding hands we will go far and make them happy.



















Image 5






 Ah, in fondo, siamo tutti uguali, 

fuori è solo apparenza ma ognuno a modo suo ha la sua intelligenza 

e sempre riusciam a divertirci guadagnandone i loro sorrisi,

 i sorrisi di chi ha speranza













 




Ah, after all, we are all the same, 

outside it is only appearance 



and we can always enjoy ourselves by gaining their smiles,



but each in his own way has his intelligence 



the smiles of those who have hope


 








Image 6









La disabilità sconforta molti









Fa diventare stupidi gli uomini colti 



Avere nella propria vita i disabili



Di amare ci rende abili



Dobbiamo essere loro amici





Per farli sentire felici!

 









 Disability defeats many



Having disabled people in our lives



Make educated men stupid 



To love makes us skilled



We must be their friends



make them feel happy!













Image 7







Dicono che tu sei diverso ma io non lo credo,





tu sei solo immerso in un mondo diverso.



 Sorridi ai colori





Sorridi ai rumori 



Disegni pompieri che sembran guerrieri. 



Vorrei una chiave d’oro per aprire il tuo cuore 



e scoprire il segreto che sta nel tuo cuore.











They say you are different but I don't believe it,



you are just immersed in a different world. 



You smile at the colors



You smile at the noises



 You draw firefighters that look like warriors.



I would like a golden key to open your heart 



and discover the secret in your heart.










































Image 8 











Insieme noi giochiamo,

scherziamo, ridiamo

 




e la vita ci godiamo.

 




Giorno dopo giorno ci conosciamo

 




e sempre più uniti ci sentiamo, 

 




tenendoci per mano

 




il mondo ci godiamo.

 






 





 



Together we play,



we joke, we laugh



and life we enjoy.



We get to know each other every day



and we feel more and more united, 



holding hands



the world we enjoy.


 
 
 
 
 






Image 9













Se a un disabile fai una carezza



Scacci via la sua tristezza





Se gli porgi la tua mano





Di sicuro va lontano

 




Se gli esprimi tenerezza





Avrai tutta la sua dolcezza

 




Se gli parli piano piano

 




Ti ascolterà come un sultano.

 








If you caress a disabled person, 



drive away his sadness



If you offer your hand



Certainly it goes far



If you express tenderness to him



You will have all his tenderness



If you talk to him slowly



He will listen to you like a sultan.

 


































Image 10









Tutti pensano che i disabili siano bambini anormali,



invece per me sono un po’ speciali.



Hanno bisogno di un po’ più di cura



perché loro di tutto hanno paura.











Se tu provi a stargli vicino capisci



 che il loro cuore non è piccino.







Everyone thinks that the disabled are abnormal children,



instead for me they are a bit special.



They need a little more care



because they are afraid of everything.



If you try to be close to him, you understand



  that their hearts are not small.


 
 
 
  
 




CONTACT SHEET



























































































































Formative feedback









Student name        



Giorgio Colonna



Student number                                               



514841





Course/Unit           



Identity & Place



Assignment number                                               



4









Type of tutorial



Written

























Overall Comments



Hi Giorgio, many thanks for sharing your 4thassignment, which shows compassion, a light touch, empathy and growing confidence. You took some risks with your choice of subject here, resisting the urge to try to ‘control’ the portrait too much and have produced some wonderful work. 







I would recommend returning to your contact sheets and making sure that you are happy with the final selection for assessment. (I feel there are perhaps some strong images that you have left out, which could replace slightly weaker ones). Also, think carefully about what it is you want the work to say, and be aware of some of the challenges of representing any minority or marginalised group (I expand on these points below).







I understand you have more research etc to add to your learning log, is that right? If so, please make sure this is on your learning log within the next couple of weeks, I can include it in my next feedback to you.







Assessment potential 



I understand your aim is to go for the Photography Degree and that you plan to submit your work for assessment at the end of this course. From the work you have shown in this assignment, providing you commit yourself to the course, I believe you have the potential to pass at assessment.  In order to meet all the assessment criteria, there are certain areas you will need to focus on, which I have outlined in my feedback.    







Feedback on assignment 



·      There are some lovely, surprising and really quite intimate portraits here, Giorgio, that tell the viewer a lot about the trust (and, again, rapport) between yourself as photographer and each of your subjects.



There is something very engaging – striking, even – about the portraits where the subject’s gaze meet the camera directly. 



·       Why not settle for fewer images, drawing together those ‘direct’ portraits, and observe the effect on the series as a whole? Sometimes ‘less is more’. Use (smallish) work-prints to help you decide on (and configure) the final series.



·      The writings from the children bring an interesting dimension to the work. However, does the text need to be part of the final presentation, or is it sufficient that these poems informed your approach to the work and your thinking around it? It’s worth considering – have another look at the 3rdparagraph of the assignment brief, and reflect on this.



·      I’m not sure from your written summary quite how much input your subjects had in their own representation… For example, were they aware of the texts? Did you allow them to present themselves (pose) as they wished? Did you perhaps seek their input into which images of themselves they preferred? I am recommending an essay by Anthony Luvera (below) in which he discusses how he gave his subjects (affected by homelessness, in this case) more control over their representation, making them active participants rather than passive subjects. I appreciate there are clear challenges surrounding the group of people you have photographed, but please have a read through the essay anyway, and (ideally) record your thoughts…



·      How will you introduce the work, and how should it be titled? I think a little more focus would benefit the work here. Is the focus of the work the ‘inner’ smile? Or is it how people affected by disability are viewed (e.g. by children)? Or is it perhaps a reflection of your own experience of getting to know this group and the impact that has had on you?



·      Are you happy that you have chosen the strongest & most coherent combination of images from your contact sheets? As before, I’m happy to look again and any further combinations if you would like a second opinion.















Coursework



·       Good reflection on Dawn Woolley’s blog piece – especially your questioning of in which countries the advertisement in question was used (-is it possible to find out?). On a separate note, does learning that Dawn Woolley is a female writer change your perception of the written piece?



·       Your awareness of the (semiotic) principles of connotation and denotation is an important element in building strong foundations towards producing persuasive/affecting images of your own, with intention. Likewise, the relationship between text and image is a key area of understanding that will become more of a consideration as you progress through your studies.



·       Encouraging to see how your engagement with August Sander’s work has led you to review your own work and is shaping your ideas about how you might shoot in future.



o   With this in mind, I hope you can see how much your own visual expression might evolve through looking at the work of many more photographers. 



·      I was particularly drawn to the 2ndand 3rdimages in your work for Ex. 4.5 – there’s a lovely stillness about them, with interesting details such as the peeling paint on the walls. You might be interested to take a look at the work of Karen Knorr, who photographs interiors with a surreal twist – and definitely the (quietly) spectacular work of Robert Poliodori http://www.robertpolidori.com/







Research



·      Please refer to my comments under this section in your Assignment 3 feedback summary.



·      An example of how to draw your research into your practice might be to consider how your interpretation of how Roland Barthes approached having his own portrait taken (we have touched on this section of Camera Lucida previously) and how this informed your approach to taking the pictures. E.g. your empathy for the subject; perhaps some frustration at not being able to ‘direct’ precisely the portrait that you might have (perhaps) preconceived. These are universal themes that, awareness of which can make the difference between being and artist and being a photographer (however you care to make that distinction).







Learning Log



·      Please refer to my comments under this section in your Assignment 3 feedback summary.



·      Very minor point but remember to apply your critical ‘eye’ to the design of your learning log itself: Consider reducing the text size and spacing to make for less scrolling (time consuming for assessors). Make the ‘space’ work for you.







Suggested reading/viewing 



Short piece by Colin Pant all on sequencing and narrative - http://colinpantall.blogspot.co.uk/2017/10/identifying-story-sequencing-isnt.html







Anthony Luvera essay, mentioned in Assignment feedback above: http://www.luvera.com/photographs-and-assisted-self-portraits/







In general, the assignment could be supported by further inquiry into the broader concept of how people with disabilities are perceived as ‘other’.  A quick (UK) Google brought up this some interesting points raised by this advocacy charity (for example): https://www.scope.org.uk/campaigns/disability-perception-gap/







Take another look at the portraits of Diane Arbus and compare your initial reponse (to her pictures, especially her work with children with Down’s Syndrome) to how she wrote about her subjects, and/or to how this relates to your own work for this assignment. Think about how your pictures might potentially be interpreted by viewers; show awareness of the controversies around Arbus’ work in this field. You don’t need to go into huge depth, but it does have clear relevance for your work.







Summary 







Strengths



·      Empathy & growing confidence



·      Work informed by further research (children’s poems)



·      Personal involvement with your subjects is evident







For Development



·      Re-visit the contact sheets and towards the final selection



·      Consider whether (or not) the text is a necessary part of the final piece



·      Show critical awareness of issues surrounding representation of ‘the other’ (- who is representing who?)













Tutor name



Jayne Taylor





Date 



05/09/2019





Next assignment due



Already received















Reflection on Tutor's Feedback





When I chose the theme of "The smile of the soul", my intention was, as the Assignment prescribes, to reflect and build a body of work on identity and place. 







I chose a subject very dear to me and with whom I have frequent interaction, and I am happy that this choice, and the way in which I developed it, have found the support of my Tutor.







Although I am frequently in contact with what we call the "disabled community", I cannot consider myself a "insider", first of all because I am not a disabled person and then because this is a community defined by the set of individualities, which, unfortunately, being mentally disabled, have great difficulties in interaction and communication between each other.




For this reason (and this is to respond to my Tutor's requests "......  I’m
 not sure from your written summary quite how much input your subjects 
had in their own representation… For example, were they aware of the 
texts? Did you allow them to present themselves (pose) as they wished? 
Did you perhaps seek their input into which images of themselves they 
preferred?.... ") I followed a different approach from the one I would use with other subjects.



I have therefore tried to make things easy and delicate, and to never impose neither the presence of the camera nor their specific attitude. 



I can say that their expressions, in the photos I have chosen, have always been genuine and have always maintained their individual identity.



Their eyes and their eventual smiles have never been turned to the camera, but to me that, incidentally, I used the camera.  

Perhaps it is this way of presenting oneself to anyone, without any attitude of circumstance, which makes it paradoxically easier to photograph them.










REWORK







In the following rework I followed my Tutor's suggestion and made a new selection of portraits. 







I admit that I had to give up a larger number of photos that I would have gladly presented, but I also believe that I was influenced by the affection for the subjects and by the fact that I know them one by one. 







In any case, I believe that the set is now more coherent.



The accompayning text is very close to the way subjects communicate, not so much because it may seem childish, but because it has a non-didactic, genuine and direct tone, as the subjects are.

  

I then decided to keep the text that accompanies the photos, in particular because, as stated by the studybook, it is about orientation titles, non-intrusive and non-directional. 



Again, as stated by the studybook, "... their intent is to give non-interfering reference to the image but not to pin it down ....". (Identity and Place, Studybook, page 76) 









The smile of the soul (Tukiki)







In the Malagasy language "Tukiki" means "smile".


However the meaning of this word goes beyond the mere sense of smiling physically: it is the smile of someone who is happy and serene, even if it does not necessarily show it with a smile on his/her face.


It is the smile of the soul.


It is a pure expression, which links the soul to the outside world, without intermediaries and attitudes, without malice and hidden meanings, without conventions and semantic constraints, with simplicity.


It is a purely positive expression, which transmits serenity and trust to the recipient.


When I read about this word, I wondered if and when I met one or more people who sent me the smile of the soul.


I thought of the Indian populations I met in Arizona, but, in reality, they have a way of communicating that I would call "impassive": they maintain the same facial expression, whether they are happy or sad, upset or worried, angry or calm. It is impossible to understand, if they do not communicate it with the word, and in any case it is difficult to understand their state of mind.


I thought of non-humans, and the expression of a dog that looks at me happy, with shining eyes.


Then, one day, I had the chance to read some poems written by the students of a secondary school on disability.


http://www.ictavernolabergamasca.gov.it/attachments/article/354/Poesie%20e%20d%27intorni.pdf

(accessed on june 10 2019, 11 pm)





Reading those simple words I connected the "Tukiki" to the mentally disabled and their behavior, so devoid of any malice: and I realized that I had found the people and the smile I was looking for.


I therefore thought of putting together some verses of the poems that I had read with portraits of disabled people, or rather disabled friends, whom I meet periodically.


Although I have been participating in these events for many years, for the first time I have observed and photographed their faces with a different mood: paradoxically, I think I took a step back from being an insider, although I have been for a long time one of them, and then become an outsider,


I opened a window on them, and it was a new experience, after so many years spent together.


When I started making the first portraits, I had some difficulties, because a portrait requires a bit of discipline in the position and behavior of the subject, and my mentally disabled friends do not have any: they need physical contact and therefore they move, they come closer, they touch and perceive the camera as something that interferes between them and me.


Others, on the other hand, have the innate ability to pose, but not for this reason they are less spontaneous and fresh in their attitudes during the photo shoot.


All of them have the ability, in one way or another, to maintain and represent their identity, without mediations and cultural constraints, without attitudes and with extreme freshness.


It was a wonderful experience and I'm happy to have been a part of it.


In my opinion the words of the poems written by the school children give more power to the photos I have selected, because it is as if they gave voice to subjects who very often have great difficulty in communicating.


Here the texts "pass ownership" from school children to disabled children, and this transfer process allows disabled children to affirm their own identity and the happiness of living it.















Image 1









La disabilità molte volte colpisce



le persone alla ricerca della semplicità e della felicità.





Visti da dentro penso che sono molto semplici.





Il loro cuore si illuminava quando una persona passava.









Disability often affects



people in search of simplicity and happiness.



From the inside I think they are very simple.



Their hearts lit up when a person passed.
























Image 2











I disabili tante volte ti fanno paura



la disabilità non è per niente una sciagura,





ma in realtà loro vogliono solo essere tuoi amici





 e questo li rende molto felici.









People with disabilities often scare you



disability is not a disaster at all,



but in reality they just want to be your friends



 and this makes them very happy.












Image 3









Essere diversi non è una cosa bella



ma per i tuoi compagni brillerai come una stella.





 Scorgendo lo sguardo felice di una amico,



un sorriso ti illuminerà il viso.





Nel buio della diversità danzerà in fondo al tuo cuore





 un arcobaleno che ti renderà sereno!













Being different is not a beautiful thing



but for your companions you will shine like a star.



  Seeing the happy look of a friend,



a smile will brighten your face.



In the darkness of diversity,

 a rainbow will dance at the bottom



 of your heart that will make you peaceful!












Image4







I disabili sono come noi.



Loro sono intelligenti



sempre con il sorriso,



ci capiscono e noi capiamo loro.



La disabilità è una cosa che fa pensar e il sorriso fa stampar.



Tenendoci per mano andremo lontano e felici li facciamo.







The disabled are like us.





They are smart




always smiling





they understand us and we understand them.



Disability is something that makes you think and smile makes you print.



Holding hands we will go far and make them happy.
























Image 5






Ah, in fondo, siamo tutti uguali, 

fuori è solo apparenza ma ognuno a modo suo ha la sua intelligenza 

e sempre riusciam a divertirci guadagnandone i loro sorrisi,

 i sorrisi di chi ha speranza

















Ah, after all, we are all the same, 

outside it is only appearance 



and we can always enjoy ourselves by gaining their smiles,



but each in his own way has his intelligence 



the smiles of those who have hope





















Image 6






































La disabilità sconforta molti









Fa diventare stupidi gli uomini colti 



Avere nella propria vita i disabili



Di amare ci rende abili



Dobbiamo essere loro amici





Per farli sentire felici!










Disability defeats many



Having disabled people in our lives



Make educated men stupid 



To love makes us skilled



We must be their friends



make them feel happy!













Image 7







Dicono che tu sei diverso ma io non lo credo,



tu sei solo immerso in un mondo diverso.



 Sorridi ai colori





Sorridi ai rumori 



Disegni pompieri che sembran guerrieri. 



Vorrei una chiave d’oro per aprire il tuo cuore 



e scoprire il segreto che sta nel tuo cuore.











They say you are different but I don't believe it,



you are just immersed in a different world. 



You smile at the colors





You smile at the noises



 You draw firefighters that look like warriors.



I would like a golden key to open your heart 



and discover the secret in your heart.






























Image 8













Insieme noi giochiamo,

scherziamo, ridiamo





e la vita ci godiamo.





Giorno dopo giorno ci conosciamo





e sempre più uniti ci sentiamo, 





tenendoci per mano





il mondo ci godiamo.

















Together we play,



we joke, we laugh



and life we enjoy.



We get to know each other every day



and we feel more and more united, 



holding hands



the world we enjoy.













Image 9













Se a un disabile fai una carezza



Scacci via la sua tristezza





Se gli porgi la tua mano





Di sicuro va lontano





Se gli esprimi tenerezza





Avrai tutta la sua dolcezza





Se gli parli piano piano





Ti ascolterà come un sultano.









If you caress a disabled person, 



drive away his sadness



If you offer your hand



Certainly it goes far



If you express tenderness to him



You will have all his tenderness



If you talk to him slowly



He will listen to you like a sultan.














Image 10













Tutti pensano che i disabili siano bambini anormali,



invece per me sono un po’ speciali.



Hanno bisogno di un po’ più di cura



perché loro di tutto hanno paura.











Se tu provi a stargli vicino capisci



 che il loro cuore non è piccino.







Everyone thinks that the disabled are abnormal children,



instead for me they are a bit special.



They need a little more care



because they are afraid of everything.



If you try to be close to him, you understand



  that their hearts are not small.