Abstract
In this article, I explore how Sudanese communities have attempted to visually document, witness and communicate a silenced history of forced displacement. Thousands of peasants in rural Northern Sudan were flooded out of their homes along the Nile during the 2003–2009 Merowe Dam construction project. My aim is to examine both the complex local interactions with and appropriations of the anthropologist’s video camera, which, in the relational process of witnessing, turned into a stage to provide audio-visual evidence against hegemonic discourses of Sudan’s successful hydroelectric future. I show how my video camera’s affordances of capturing and mediating ‘truth’ evoked specific performative genres of representation in moments of crisis and illustrate how these usages differ from everyday interactions with a video camera. These performative genres of ‘crisis witnessing’, I contend, resonate with globally distributed media realities and thereby reproduce certain practices of communication that are stereotyped in the mass media.
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