8 planet of the arts / spring 1998 COVER Palden Gyatso showed me the kind of electric cattle prod that was forced into his mouth until his teeth loosened in his skull and his sense of taste was shocked and permanently destroyed. -Art Perry Art Perry, Palden Gyatso, 1997 ...continued from page 6 The images that he chooses to express this Tibetan spirit of survival are most convincing when used as illustrations for his text. His image of Palden Gyatso is a good example. This is the same Palden that Borges has photographed, and the difference in the aesthetics and intent of the two images is striking. Perry’s image of the monk shows an elderly man sitting placidly on a padded bench. He is photographed from an angle above him so that the viewer is looking down as though standing in front of a seated figure. Palden is wearing a monks robe and a wrist- watch on his left arm. His body is framed from the knees up and to the right side of the image with a slight tilt of the camera to produce strong diagonal lines from the bench. Palden is facing his front but his eyes are looking up and to the left as though he is peering to the right of the photographer. His face appears to have a slight smile and his arms are open and resting loosely on his lap. The uncropped black and white 35mm negative image with the black borderline seems to present Palden as a simple, meek person. Perry’s photographic approach gives one a less idealized impression of the monk, while his recounted descrip- tion of Palden’s ordeals is more inducing and emotionally poignant than Borges’ brief, impersonal caption: Palden Gyatso showed me the kind of electric cattle prod that was forced into his mouth until his teeth loosened in his skull and his sense of taste was shocked and permanently destroyed. Paljor, the guard who was responsible for the death of Gyatso’s mentor Lobsang Wangchuk “pulled the electric baton from the socket and began to poke me with his new toy. My whole body flinched at each electric shock. Then, shouting obscenities, he thrust the baton into my mouth, took it out, and rammed it in again ... My mouth was swollen and I could hardly move my jaw. With great pain, I spat something out. It was three of my own teeth ... In due course, all of my other teeth fell 1 out too. Perry writes to keep his reader thinking, and his book in general contains a greater depth of tension and emotion than Borges’ book, which seems to be satisfied with drawing out quick reactions. Perry’s The Tibetans: Photographs is more of a collection of written stories and impressions than a collection of images. So it is in his text and not his images that Perry is most pronounced in his description of Tibet as a Shangri-La. Unlike Borges, who presents his view of Tibet in his portraits, Perry uses personal testimonials of the beauty and suffering of Tibetans to present a case that will hopefully persuade the reader of the uniqueness and importance of this culture. By doing so, he ultimately hopes to convince others of the need to save Tibet. Perry and Borges are linked in their desire to document the struggle of the Tibetan people. But as we have seen, each pho- tographer has approached this kind of project with a different method and motivation. One conclusion that can be obtained from the comparison of Borges to Perry’s book is a determina- tion of the success each has had in understanding and maintaining a responsibility to the truth in their representation However, as Chinese oppression is so common in Tibet, one wonders about the exclusion of images of this oppression from a form of photography that traditionally records such situa- tions. Perry’s lack of images of injustice is an exclusion that is far more obvious than it would be in other photographic gen- res (such as portraiture). He desires to tell the truth in his photographs, but Perry’s images themselves do not tell the whole truth of the Tibetan struggle. If it were not for the accompanying text and captions, Perry’s images would make the oppression of the Tibetans seem less real. For both Perry and Borges it seems that words are more useful than pho- tographs to present the victimization of the Tibetan people. Since this is the case, it is not surprising that Perry and Borges have decided to use coffee-table books as the medium for their advocacy of the Tibetan cause. But these books also allow each photographer to promote his own personal agenda. For Borges, Tibet is a human rights cause that provides a sub- ject-very suited to his style of portraiture, and ultimately to Western philanthropic tastes. In fact, Borges’ labelling of Tibet as.a paradise is directly related to his desire to save it. In the tradition of the American pre-occupation for the banner of “Rights,” Borges searches for endangered Shangri- La’s to save. Add to this the world-leader or world-policeman perspective of U.S. egotism, and it’s no wonder that Borges feels the need to go gallivanting around the planet to as many places as possible, in order to save as many people as he thinks he can. It’s also not surprising that so many of his fellow Americans have come to admire him for his committed efforts in such a noble cause. It’s just too bad that Borges and his followers don’t spend more time trying to understand the places they are so interested in saving. Perry’s search for Shangri-La also stems from a history of international travel. His interest in nomadic tribes is rooted in his dissatisfaction for the materialism and superficiality of Western culture. He finds paradise in Tibet because it is a cul- ture that has embraced a spiritual and environmentally harmonious existence. This is an existence that is the opposite of our North American way of life. Perhaps Perry’s struggle to find the truth is a struggle against despair over injustice and the guilt of his own privi- leged position as a Westerner. His distaste for his own culture would be heightened in the opportunity to travel and com- pare different standards and philosophies of living. The belief that we in the West live rich, free but shallow and self- ish lives, is common to many of those who live in our advanced society. Many of these people also believe that Tibetan Buddhist philosophy and culture hold the answers to the problems of our Western way of life. While it may be true that Tibetans are an example of a people that are free from all of the negative distractions of Western society, one has to question how conceivable it is to transplant this kind of existence into our culture. It is impossible to turn back time or to solve all of our of another culture. From this conclusion we can perhaps gain a better understanding as to how problems by somehow adopting a lifestyle that only exists in best to document and present the difficult subject of systematically oppressed peoples. And remote, sheltered and sparsely populated areas. We will also what will inevitably come out of such an examination will be the primary questions of why one not save ourselves, or anyone else for that matter, by carelessly chooses, and what one chooses as, a culture and a cause to champion and revere. advertizing the most attractive and transferable characteristics >« Borges’ “advertorial” style is defined by the fusing of com- of other cultures in an Phil Borges, Palden, 62 mercial aesthetics with a dogmatic and simplistic message. Dra- attempt to somehow and matic yet soft artificial lighting, vaguely “raise awareness” of I try to treat whoever I beautiful and admirable sub- their plights. jects and the signifiers of spiri- m eet as an old frien d. Th is Presenting the compas- tuality (such as holy objects, mountaintops and towering fig- ures) are all visual techniques that together create a “look” of sion and beauty of the gives me a genuine feeling Tibetans as an example for a better way of living sounds good, but to desire their sim- enlightenment. His message is of h app in ess. It is th e ple, agrarian and isolated dictated with captions that are existence as a solution to our intended to give only enough practice of comp assion. Western problems is truly a information to infer the injus- tices that the Tibetans have endured, without expressing much about the subjects them- selves. As well, the inclusion of the Dalai Lama’s commentary is similarly meaningful only as a means to present the Tibetans as transcendent and therefore worthy of being saved. The use of the Dalai Lama’s philosophical Buddhist teach- ings set up one message of Tibetan beauty while, with the straight-forward descriptive image captions, Borges’ sets up another message of the horror of Tibetan life under Chinese occupation. Borges’ uses this conflict of horror and beauty as-a method to present the systematic oppression that Tibetans experience. It is a propagandistic but effective strategy to curry favour for the cause. His method of photographing other cul- tures and victims of political repression is hardly responsible to the culture he presents (in terms of accuracy or truth) but this seems less important (or not even realized) by Borges himself, ° fantasy. We need to learn to -D alai Lam a recognize the shortcomings and inadequacies of our cul- ture, and we need resolve to find our own ways to push ourselves towards aspirations high- er than materialism and entertainment. The truth of the Tibetan Shangri-La is that it’s a wonderful example for the potential of humankind. But in its current situation this tor- tured paradise is also a reminder of the factors changing the face of the world, factors that must be reckoned with if we are to ever create, not just a better place somewhere else, but a better world in general. ol) Notes 1. Palden Gyatso, Fire Under the Snow, The Harvill Press, London, 1997, pp. 195-196, cited in Art Perry, The Tibetans: Photographs, (forthcoming) p. 9. as his images speak so well to Western audiences ready to accept Tibetans as whitewashed indigenous people. Perry is far more aware of the possible dilemmas available when one photographs peoples of other cultures. He purposely tries to avoid the problems of misrepresentation by utlilzing a humanist form of photographing. He adopts a photojournalistic approach that gives the sub- ject a more neutral appearance and accurate context. By this method, Perry stresses the daily existence of Tibetans in a manner that seems more accurate to their culture and way of life. 8 plonet of the orts / spring 1998 COVER Palden Gyatso showed me the kind of electric cattle prod that was forced into his mouth until his teeth loosened in his skull and his sense of taste was shocked and permanently destroyed. Art Perry ‘At erry Palen Gyatso, 1997, The image that he chooses to express this Tibetan spirit of survival are most convincing when wsed as ilustatons for his text. His image of Palden Gyato isa good example. This is the same Palden that Borges has photographed, and the diference inth image ofthe m tics and intent ofthe two images striking Perry's shows an elderly man siting plaily on a ded bench, He s photographed from an angle above him so that the viewer is looki dwn as though standing in font of a seated figure. Palen is wearing a monks robe and a wrist watch om his eft arm. Hisbodys framed fiom the ces up and to the right side ofthe image with alight it ofthe camera to produce strong diagonal lines from the bench Palden i facing his font but hiseyesare looking up and to the lta though he is pocrng tothe right of the photographer. His face appears to havea light smile and hs arms are open and resting loosely on his ap. The uncropped back and white 35mm negative image withthe black borderline seems to present Palden as simple eck person, Perey’s photographic approach gives one ales Helizedimpresion ofthe monk, while is recointed descrip tion of Palden's ordeals is more indcing. and emotionally poignant than Borges’ rie, impersonal caption: Perry writes to ep his reader thinking, and his book in general contains a greater depth of tension and emotion than Borges’ book, which scems to be satisfied with drawing out quick reactions. Perrys The Tibetans: Photographs is more of calletion of writen stories and impressions than a collection ‘of images. Soi is in his text and not is images that erry is most pronounced in his description of Tibet a a Shangri-La Unlike Borges who presents his view of Tibet in his portraits, ery uses personal testimonials ofthe beauty and sullerng of Tibetans to presenta case that will hopefully persuade the reader of the uniqueness and importance of this culture. By doing o,he ultimately hopesto convince others of the need to save Tibet erry and Borges ar linked in thee desire to document the struggle of the Tibetan people. But as we have sen, each pho tographer has approached this kind of project wih a different method and m vation. One conclusion that can be obtained from the comparison of Borges to Perry's book i determina tion of the success cach has had in understanding, and ‘maintaining a responsibility tothe ruth in tei eprsentation ‘of another culture. From this conclusion we an perhaps gain a beter understanding aso how boat to dacument and present the dificult subject ofsystematialy oppressed peoples. And ‘what wil neitably come ot of such an examination willbe the primary questions of why one chooses, and what one choose as, 3 tre and a cause to champion and revere Borges “advertorial” tle is defined by the fusing of com: serial at 4 his images speak so well to Western audiences ready to accept Tibeta indigenous people. ery is far more aware of the posible dilemmas avilable when one photogs of other cultures. He purposely tres humanist form of photographing. He adopts dogmatic and simplistic message. Dra matic et sft ati ighting, beautiful and admirable sub jects and the signifies of 5 tuality (such a holy objects, ‘movtaintops and towering ‘urcs) ate all visul techniques that together create a “lok” of clghtenment. His message i Aitated with captions that are led to give only enough information to infer the injus re Tibetans have tices that endured, without expressing much about the subject them selves As well the inclusion ofthe Dali Lam's commentary is similarly meaningful only asa means to present the Tibetans a transcendent and therefore worthy of being saved The use of the Dalai Lamas philosophical Buddhist teach ings set up one messge of Tibetan beauty while, with ight-forward descriptive image captions, Borge’ sets another mesage of the horor of Tibet = Iie under Chinese ‘occupation, Borges uses this cont of horeor and beauty a8 method to presentthe systematic oppression that Tibetans experience. Iisa propaganditc but efectve strategy to curry ‘aus His method of photographing other cu tures and victims of politcal epresson is hardly esponsible to favour fort the culture he presents (interme of accuracy o teh) but this scems les important (or not even realized) by Borges himsel, as whitewashed peoples avoid the problems of misrepresentation by ulizng a otojournalistie approach that gies the sub ject a more neutral appearance and accurate context. By this method, Petry stresses the daly ‘existence of Tibetans in 3 manner that seems mote accurate to thei culture and way of fe I try to treat whoever I * meet as an old friend. This gives me a genuine feeling of happiness. It is the practice of compassion. However Chinese oppresion iso common in Tibetone wonders about the etclusion of images ofthis oppression from, 2 form of photography that traditionally records such sit tions ery’ lick of images of injustice is an exclusion th far more obvious than it would be in other photographic ge res (such as porteiture), He desires to tll the tuth in bis photographs, but Peey’s images themselves do not tel the ‘whole truth of the Tibetan struggle. If ft were not forthe sccompanying text and captions, Perry’ images would make the oppression of the Tibetans sem less rea. For both Perry and Borges it seems that words are more useful than pho: tographs to present the victimization ofthe Tibetan people ‘Since this isthe eas, i s not surprising that Perry and onges have decided to use cote table books asthe medium for their advocacy ofthe Tibetan ease. But these books aso alow cach photographer to promote hs own personal agenda For Borges, Tibet sa human rights eause that provides sub ject very suited to his style of portraiture, and ultimately 10 Westen philanthropic tastes. In fac, Borges labeling of Tibet asa paradise is directly related this desie to save it Inthe tradition of the American pre-occupation for the banner of “Rights” Borges searches for endangered Shangri Lis to save, Add to this the world-cader or world-poiceman perspective of US egotism, and sno wonder that Borges fel the nee to go gllvanting around the plane to as many places, {as posible, in oder to save as many people as he think he cn, Its also not surprising that so many of his fllow Americans have come to amite him for his commited efforts in such 3 noble cause just too ad that Borges and his flowers dont spend more time trying to understand the places they are so interested in saving Perrys search for Shangri also stems from a history of international travel is interest in nomadic tries is rooted in his disatisfction for the materialism and superficiality of Western culture: He finds paradise in Tibet because it isa cl ture that has embraced 2 spiritual and ensionmentally hatmonious existence. This isan existence that isthe opposite te Noth American way of if Perhaps Peres steugle to find the truth is struggle against despair over injustice and the gut of his own priv leged postion as a Westerner. His distaste for his own culture would be heightened inthe opportunity to travel and com: pare diferent standards and philosophies of living. The bie that we inthe Wes live rch, free but shallow and self. ish lives, 8 common to: many of those who live in our Many of these people also believe that Tibetan Buddhist philosophy and culture hold the answers to the problems of our Western way of life, While it may be true that Tibetans are an example of a people that are fee from all of the negative distractions of Western society, one has to question how conceivable itis to transplant this kind It is impossible to turn back time of to soe all of our problems by somehow adopting a lietyle that only exists in remote, sheltered and sparely populated areas. We will ner by arlessly advertizing the most attractive and transferable characteristics ‘of other cultures in an attempt to. somehow and vaguely “nase awareness” of thei lights. Presenting. the compas: sion and beauty of the not save ourselves or anyone else for that Tibetans as an example for a beter way of living sounds 90d, but to desir theirs ple, agrarian and isolated existence as solution to our Western problems i truly a fantasy. We need to learn to recognize the shortcomings and inadequacies of our cul ture, and we need resolve 19 {ind our own ways to push ounces towards aspirations high cr than materialism and entertainment. The teuth of the Tibetan Shangri-La is tha it @ wonderful example forthe potential of hi tured paradise is also a reminder ofthe factors changing the face ofthe world, factors that must be reckoned with if we are not just a better place somewhere ese, but a better work in genera Dalai Lama nankind, But in its current situation this tr. Notes 1. allen Gyati, fre Under the Som, The Harv Prow, London, toar pp. os ote Art Pere The Tibetans: Phtap