Just Another Vanity Affair

The first article in the July 2007 issue of Vanity Fair is an extremely odd, conflicted one. Its title, "Its Bono, on Line One," is sprawled across a photo of an empty photo shoot setup, giving the impression of a clean slate, perhaps for Africa. Lisa Robinson, the author, begins with a small introduction explaining the special issue's 20 different covers, taken as a group of well-known people has a "conversation" about Africa. She does not provide their names, instead introducing them by their relation to the continent or livelihood, making them seem more personable. A quote from Annie Leibovitz, the photographer of the set, ends the brief article praising the group's effort to "make Africa better, get Africa self-sufficient, and try to get rid of AIDS on the continent." As it turns out, several of the 21 people featured in photographs and captions on the following 4 pages do specifically identify their "cause" in Africa as the treatment, prevention, and research for the cure of AIDS/HIV. Not that this an undeserving cause, but Leibovitz's choice to identify the whole group with possessing the sole aim of "ridding" Africa of AIDS makes her sound as if she had not read the captions underneath her own photos prior to publication. However, it was the author's choice to use this inaccurate, disappointing quote in the piece, which ultimately reflects a poor decision on her part. While Leibovitz may have dropped the ball on the quote, her beautiful photography all but makes up for it. The way these 21 people are paired not only illuminates each of their distinct personalities, but allows the reader to compare and contrast the two characters. Chris Rock playfully pulls the ear of Warren Buffet while a serious George Clooney speaks in hushed tones to Jay-Z on the next page. Each photo has its own appeal while adding to the overall aesthetics of those on the page. While the layout of the piece is balanced and fun to look at, it does more to idealize these celebrities for their contribution than it does to educate on their causes. The togetherness displayed in the pictures is not reflected as well in the paragraphs about each person's involvement with Africa found below them. Alicia Keys, who performed a concert in South Africa for a nonprofit, describes the continent as having a "resilient spirit" and claims it gives her a "sense of purpose," language that is reminiscent of the wise Africa stereotype. Iman, who Keys was paired with in a photo, might not share that view, as she describes her Africa as "rich in human resources and in dignity," not something that exists to provide a sense of purpose for an American musician.

Two Pictures in One

The image featured above was taken by Jonas Karlsson during a grand music festival held in the desert of Mali. The man pictured in the photo is Malian guitarist Habib Koite whose work is famous throughout the West African music scene. When first glancing through the “Showtime in the Sahara” article in Vanity Fair, the power of this image in particular catches your eye. The reason I believe this image is so powerful is the contrasting pictures of what we would expect to see in a photo from the Sahara Desert and that, which we would not, presented together.

In the background of the photo there appears to be a camp set up in the desert with a few people scattered around it. The pitched white tents that stretch as far as the eye can see do not stand out very much against the neutral color of the sand that is surrounding everything and everyone in the image. This is a typical picture taken in the Sahara Desert. However, in the front and center of the image is Habib Koite totally enjoying himself while playing his electric guitar. This is the other side of the image that you wouldn’t expect to see in the middle of the Sahara Desert.

This contrast is so special because it allows the image to play into what we think we know about Africa while showing a side we don’t know at the same time. While the background of the photo may seem standard, Koite’s image is not. The guitarist’s clothes aren’t what you would expect someone camping in the desert to be wearing. The expression on his face and the way he is looking up into the sun light give the image a feeling of liveliness and enjoyment. Feelings we wouldn’t regularly be shown in images taken of people in the desert. These aspects make this photo extremely powerful in representing the everyday light-heartedness of Africa that we are not often shown.

Festival in the Desert: A Statement on Music, Not on Africa

This photograph of guitarist Habib Koite at the site of the Festival in the Desert may at first appear to resemble some images that poorly depict Africa (such as Jay-Z’s Rocawear campaign). However, at closer look, it becomes apparent that the photograph is not just another image focused on a modern-day musician that reduces Africa to a backdrop of vast space. The picture, taken by Jonas Karlsson, makes a statement about much more than just the artist—it makes an argument about the role of music in the remote location of Essakane in Mali, at a festival that brings together people from all over the world to enjoy the best West African music. The photo’s purpose is not to make a statement about the continent of Africa, but to inform the viewer that music at the Festival in the Desert (and possibly in general) is a unifying element that breaks down cultural barriers.

One of the first reactions that the viewer may have to this image is that the central figure (Habib Koite) and his guitar seem out of context with the rest of the photo. The photographer strategically included a number of modern elements to juxtapose the vast, simple background. The only two distinguishable figures in the photograph are Koite and the Tuareg on the camel, walking casually in the background. The contrast between these two people alone is clear—Koite’s modern dress of sunglasses, a necklace, a watch, and clean sneakers and clothing is in complete contrast to the Tuareg’s figure which appears to be wrapped in layers of clothing, riding on a camel. The use of color in the image also depicts the contrast between the musician and the landscape of the festival—while Koite wears all black, the backdrop consists of all neutral colors.

The image informs the viewer of the extreme differences between the musician and the environment in Essakane. However, the central object of the image—the guitar—breaks down the differences in clothing, lifestyle and culture and unifies the diverse group of people who come to enjoy the festival.

The electric guitar is the center of the image both physically and metaphorically. The golden color of the instrument makes it stand out against the neutral background of the sand, tents and sky, and all-black clothing of the musician. Clearly, this what the photographer wants the viewer to concentrate on. By placing such great emphasis on the instrument, the image argues that music is the element that unifies these two very different worlds (exemplified in the contrast between Koite and the Tuareg and Essakane).

The mood of the photo is created by the use of light and warm colors. The sun shining on the musician and the tents delivers a sense of joy and happiness. By positioning Koite with his head toward the sky, also helps create a sense of enjoyment—the happiness brought on by playing the guitar and hearing the music. The use of pale, almost-white colors for the clear sky brings peace, tranquility, and grace to the photograph. The vast, remote background of sand and the lack of wind and movement in the photograph (though the article noted the strong winds at the Festival) show that the photographer wanted to capture a sense of quietness and simplicity—which Karlsson attributes all to the presence of music.

It has been said "a picture tells a thousand words." However, before those words are even constructed, that same picture evokes a thousand emotions. Pride, despair, love, hate, happiness, sadness and many other emotions all combine to generate the words every picture "tells". Immediately after viewing this picture, I felt a sense of pride. The same pride Iman (right) so effortlessly displays. Iman's role in this cover is of my particular interests; so poised, so graceful. She is displaying her true identity, being an African woman. So often we see the women of Africa shown in a terrible light. They are portrayed as uneducated, poverty-stricken, primitive individuals. We don't often see women of Africa in such a regal light. This cover takes our old ways of thinking and completely flips them around. With Alicia Keys (left), onlooking with a loving eye it is impossible not to feel a certain way about this picture. It almost looks as if Alicia is reassuring Iman that her part in this photo is to change our views of the women of Africa. That what Iman is doing is not in vain. Could this have been Vanity Fair's objective? If one picture such as this can be distributed worldwide by magazines such as Vanity Fair it can definitely affect its viewers and change our minds as well as out hearts.