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People are storytellers by nature and these stories or narratives provide us with access to people’s identity and personality while playing a central role in our communication with others (Richardson, 1990; Lieblich, & Zilber, 1998). Much research has been done on the use of narratives and how they in turn provide a unique insight into a range of multiple interconnecting forces that enlighten relations between self and society (Bager-Charleson, 2004; Lightfoot, 2004).
A relatively under researched area of narrative inquiry is the use of photographs, visual narrative (Bach, 1998; Clandinin & Connelly, 2000; Moss, 2003), to provide prospect to reflect and grow from our experiences, to evoke memory in our lives, a memory that can be used to construct and reconstruct stories, and to share stories with the community

The use of photography has been a great store of our past/present showing chronological changes in the functions and uses of documentary. In Africa oral tradition has been our method of storing our histories.
The method has been used for storing events, music, dance,performance, culture and traditions. Storing visual history has been done in these spheres mentioned because of the lack of system. The store of our collective memories usually heldby elders are handed down through lineage/ interested descendants or socio cultural practices in our various families, homes,ethnic groups and communities.

The nature of our histories and it’s storage methods makes it difficult to have proper visual representation/recollection to actualise their use and meaning in relation to our present.
Photography gives us the platform to capture our histories visually on so many different socio-cultural/economic/political moments like weddings, funerals, church, ceremonies for viewing at another time. This serves a store/archive for that captured moment or a store of history for their families and an archive of their collective existence, allowing it to be shared communally with friends, family kinsmen, community.

Printed photographs, the method of storage of these visual histories are under threat of disappearing through neglect and bad storage because they are deemed not valuable .
Some of the key questions that this research will be interested in are the social backgrounds of the archived families. Other key areas might be their economic class, educational attainment/achievement, their links with the diaspora, the reasons for the pictures that were taken. etc

The resultant online archive as an entity will serve as the digital store of histories and our narrative collectively encouraging a paralleled discourse with opportunity for cross over to other areas like music, dance, performance and culture.
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