Chinese, Mandarin

Spanish

English

Hindi

Arabic

Portuguese

Bengali

Russian

Japanese

Punjabi

German

Javanese

Malay

Telugu

Vietnamese

Korean

French

Marathi

Tamil

Urdu

Turkish

Italian

Chinese, Yue / Cantonese

Thai

Gujarati

Chinese, Jin

Chinese, Min Nan

Persian, Dari

Persian, Western

Polish

Pashto

Kannada

Chinese, Xiang

Malayalam

Sundanese

Hausa

Odia

Burmese

Chinese, Hakka

Ukrainian

Bihari, Bhojpuri

Tagalog

Yoruba

Bihari, Maithili

Uzbek

Sindhi

Amharic

Fula

Romanian

Oromo

Igbo

Azerbaijani

Chinese, Gan

Dutch

Kurdish, Central

Kurdish, Northern

Kurdish, Southern

Malagasy

Lahnda, Saraiki

Nepali

Sinhalese

Chittagonian

Zhuang

Khmer

Turkmen

Assamese

Madurese

Somali

Marwari

Bihari, Magahi

Haryanvi

Hungarian

Chhattisgarhi

Greek, Modern

Chewa

Dakhini

Akan, Twi

Akan, Fante

Kazakh

Chinese, Min Bei

Sylheti

Zulu

Czech

Kinyarwanda

Marwari, Dhundhari

Haitian Creole

Chinese, Min Dong

Ilocano

Quechua

Kirundi

Swedish

Hmong

Shona

Uyghur

Hiligaynon

Mossi

Xhosa

Belarusian

Balochi

Anthropology

<OpenstaxParagraph>
	Photography was invented in the early 19th century and became widespread in the period when European countries were beginning to establish formal colonial rule over African, Middle Eastern, and Asian territories. In colonial contexts, the imperial gaze framed how Europeans photographed colonial landscapes and colonized peoples, positioning them in strategic ways to justify colonial rule.
</OpenstaxParagraph>
<OpenstaxParagraph>
	As the head of the Basel Mission Society’s large archive of colonial photographs, historian Paul <OpenstaxTerm>Jenkins</OpenstaxTerm> (1993) has studied pictures taken by Swiss and German missionaries in Africa. The Basel Mission Society (BMS) was a Christian missionary group that participated in the larger trend of Christian missionizing in Africa in the late 19th and early 20th centuries. Jenkins’s inquiry sought to understand what the BMS photos reveal about the people in the photographs, the people who took the photos, and the wider conditions in which the photos were taken.
</OpenstaxParagraph>
<OpenstaxParagraph>
	Jenkins’s analysis focuses on one particular missionary, Christian <OpenstaxTerm>Hornberger</OpenstaxTerm>, who worked in southeastern Ghana in the late 19th century. In 1863, the BMS asked Hornberger to take photographs depicting missionary activities in <OpenstaxTerm>Ghana</OpenstaxTerm> to be sold to European Christians who donated to the African missionary effort. Hornberger took many pictures of African children, the mission station, the local landscape, and scenes from Indigenous life. Jenkins points out that the earliest photographs taken by Hornberger emphasize the strangeness of African peoples and environments, while the later ones seem to emphasize the kind of common humanity found in later <OpenstaxEm>National Geographic</OpenstaxEm> photos. In Hornberger’s later photographs, Africans are depicted in ways that would have been familiar to many Europeans: families are shown eating dinner together, women are depicted grinding corn, and local craftspeople are shown creating pottery.
</OpenstaxParagraph>
<OpenstaxParagraph>
	A set of photographs of children dressed in European clothing caught Jenkins’s eye. Who were these children, and why were there so many photos of them? Where were their parents? Digging deeper, Jenkins discovered that these were local “slave children” (1993, 100) bought into freedom by missionaries and taken to live on the mission compound. In West Africa at the time, people who fell into debt could “pawn” their children to work as servants in lieu of paying the debt. Sometimes, children were given to the priests of local shrines as payment for wrongdoing or gratitude for good fortune. As early Christian missionaries did not initially have much luck converting local peoples to Christianity, some BMS missionaries saw this practice as a way to both accumulate converts and drum up European support. BMS missionaries began offering European supporters the opportunity to “purchase” the freedom of a particular child, give the child a Christian name, and provide for the child’s food, clothing, and other needs. Most of the African children in BMS photos of the time are subjects of this child-sponsorship program.
</OpenstaxParagraph>
<OpenstaxFigure id="fig-00002" src="https://openstax.org/apps/archive/20240226.174525/resources/afc88d8cb27f62b78df683283d48fb6519ab643d" alt="Black and white photograph of a White woman sitting in the grass in front of a house, with two young Black children sitting on either side. All three wear solemn expressions. A simple wood frame building is visible in the background." mediaType="image/jpeg" width="617" height="800" />
<OpenstaxFigureText width="617">
	<strong>Figure 15.6</strong> Hornberger’s photograph of “emancipated” children. These children, who had been sold into servitude by their parents, were purchased by White missionaries and brought to live with them. Many were unhappy in this unfamiliar setting and ran way to reunite with their families. (credit: “L R and 2 Native Children, Congo, ca. 1900–1915” by Unknown/Wikimedia Commons, Public Domain)
</OpenstaxFigureText>
<OpenstaxParagraph>
	While this may have seemed like a win-win scheme all around, the “liberation” of African slave children was apparently experienced by the many of the children as a new form of enslavement. Most were unhappy living on the mission compound, divorced from their home cultures, forced to wear uncomfortable clothing and speak a strange language. Many of them ran away, back to the families they had been serving before the missionaries intervened. By 1868, the BMS was forced to abandon the whole scheme. The backstory of Hornberger’s photographs of these children vividly illustrates the strategic artifice of the imperial gaze—how missionaries used photography to position themselves as saviors while local people often saw them as agents of colonial domination. The entire collection of photographs from the Basel Mission Society is archived at the <a href="https://openstax.org/r/bmarchives">BM Archives website</a>.
</OpenstaxParagraph>

15.4.2 Photography and the Colonial Gaze

1 What Is Anthropology?

1.1 The Study of Humanity, or "Anthropology Is Vast"

1.1.1 The Heart of Anthropology: Central Narrative and Commitments

1.1.2 Central Commitment #1: Exploring Sociocultural Diversity

1.1.3 Central Commitment #2: Understanding How Societies Hold Together

1.1.4 Central Commitment #3: Examining the Interdependence of Humans and Nature

1.2 The Four-Field Approach: Four Approaches within the Guiding Narrative

1.2.1 Biological Anthropology

1.2.2 Archaeology

1.2.3 Cultural Anthropology

1.2.4 Linguistic Anthropology

1.2.5 How the Four Fields Work Together: The Example of Race

1.3 Overcoming Ethnocentrism

1.3.1 Enculturation and Ethnocentrism

1.3.2 Primitivism and Orientalism

1.4 Western Bias in Our Assumptions about Humanity

1.4.1 Primitivism and Orientalism in Popular Culture

1.4.2 The Bias of Backwardness

1.5 Holism, Anthropology’s Distinctive Approach

1.5.1 Society as an Integrated Whole

1.5.2 Sources of Contradiction, Conflict, and Change

1.6 Cross-Cultural Comparison and Cultural Relativism

1.6.1 Relativism Is Not “Anything Goes”

1.6.2 Morality, Activism, and Cultural Relativism

1.7 Reaching for an Insider’s Point of View

1.7.1 The Challenge of Representing Others

1.7.2 Collaborative Methods of Representation

1.7.3 Working across Cultures toward Common Goals

1.7.4 Suggested Readings

2 Methods: Cultural and Archaeological

2.1 Archaeological Research Methods

2.1.1 Archaeological Techniques

2.1.2 Archaeological Dating Methods

2.2 Conservation and Naturalism

2.2.1 Early Efforts

2.2.2 Salvage Anthropology

2.2.3 Museum Collections

2.2.4 Interpretation and Voice

2.3 Ethnography and Ethnology

2.3.1 The Development of Ethnography and Ethnology

2.3.2 Perspective and Interpretation in Ethnography

2.4 Participant Observation and Interviewing

2.4.1 Participant Observation

2.4.2 Interviewing Informants

2.4.3 Ethical Considerations

2.5 Quantitative and Qualitative Analysis

2.5.1 Differences between Quantitative and Qualitative Information

2.5.2 Modeling

2.5.3 The Science of Anthropology

2.6 Collections

2.6.1 Archives

2.6.2 Three-Dimensional Collections

2.6.3 Ownership

2.6.4 Suggested Readings

3 Culture Concept Theory: Theories of Cultural Change

3.1 The Homeyness of Culture

3.2 The Winkiness of Culture

3.3 The Elements of Culture

3.3.1 Culture Is What We Make

3.3.2 Culture Is What We Do

3.3.3 Culture Is What We Think

3.4 The Aggregates of Culture

3.4.1 Symbols

3.4.2 Ritual

3.4.3 Social Structure

3.5 Modes of Cultural Analysis

3.5.1 Evolution, Adaptation, and Historical Particularism

3.5.2 Functionalism

3.5.3 Structuralism

3.5.4 Ontology

3.6 The Paradoxes of Culture

3.6.1 Paradox 1: Culture Is Continuous, but It Changes

3.6.2 Paradox 2: Culture Is Bounded but Mobile

3.6.3 Paradox 3: Culture Is Consensual but Contested

3.6.4 Paradox 4: Culture Is Shared, but It Varies

3.6.5 Suggested Readings

4 Biological Evolution and Early Human Evidence

4.1 What Is Biological Anthropology?

4.1.1 Looking to the Deep Past

4.1.2 Exploring What It Means to Be Human

4.2 What’s in a Name? The Science of Taxonomy

4.2.1 Defining the Science of Taxonomy

4.2.2 Defining a Species

4.3 It’s All in the Genes! The Foundation of Evolution

4.3.1 The Units of Life

4.3.2 Gregor Mendel and the Laws of Heredity

4.3.3 Mendelian Inheritance in Humans

4.4 Evolution in Action: Past and Present

4.4.1 Early Evolutionists and the Fixity of Species

4.4.2 Charles Darwin’s Role in Changing Views of the Natural World

4.4.3 Understanding Darwin’s Theory of Natural Selection

4.5 What Is a Primate?

4.5.1 What Is a Primate?

4.5.2 Primate Behavioral Variation

4.5.3 Explaining Primate Success

4.5.4 Primate Classification and Taxonomy

4.6 Origin of and Classification of Primates

4.6.1 Understanding Concepts of Time

4.6.2 Fossils and Dating Methods