Intimacy in a violent context: photographs from Mbouda (Cameroon) in a time of troubles

Abstract

AbstractAll archives have silences, which may come to resonate, even if they may never speak. What is unsaid or unsayable may be understood and appreciated even if never enunciated and never heard. The photographs of the Cameroonian photographer Jacques Toussele from 1960 to 1980 were taken against a background of violence: the uprising of the Union des Populations du Cameroun (UPC), which started before Cameroonian independence and continued for the next decade. The fight against UPC ‘terrorists’ by the Cameroonian state and the French military was marked by violence on all sides. There is no evidence of this in the Toussele archive, which consists of administrative ID portraits and recreational shots depicting friends and family and various displays of intimacy. The Toussele photographic archive shows young people in Mbouda exhibiting the global tropes of modernity. Soon after independence in Ouest Cameroon, both the violence and the promises of 1960s modernity were challenges to traditional sociality. A local reading makes it clear that the violence was ever present in its absence and denial: to perform an event was no small achievement and, like the birth of a child, was to be celebrated and marked by photography. Intimacy was achieved against a background of violence and celebrated for this very reason.