Zeina: A Photo Iconography * Interview With Sudanese Photographer Issraa El-Kogali Interviewed By Isma’il Kushkush The Juba Lane © Issraa El-Kogali. Issraa El-Kogali is a Sudanese born photographer currently residing in Khartoum. Her latest project, "Zeina: A Photo Iconography," is a collection of iconic images from Sudan’s Northern State, Al-Shamaliyya. This collection features photographs from northern Sudanese towns and villages such as Dongola, Wadi Halfa, Abri, Wawa and elsewhere in which El-Kogali attempts to present positive images of Sudan. "Zeina" was exhibited at the Waterloo Gallery in London, April 2008, the Petrie Museum of Egyptian Archaeology at the University of London, May 2008, and Universal Café in Khartoum, December 2008. El-Kogali holds a Masters of Fine Arts in Film from Boston University, USA. Her previous projects have been exhibited in Khartoum, Cairo, London and Washington D.C. IslamOnline.net's correspondent in Sudan interviewed El-Kogali about her latest exhibition. IOL: What is photo-iconography? El-Kogali: Photo-iconography is a collection of symbols or portraits and things that are representative of a particular subject. In this case, photos that can possibly be "iconic;" things we look at and then think immediately of a specific place; in this case, Al-Shamaliyya, (the Northern State in Sudan). IOL: How and why did you start this current project of yours, "Zeina: A Photo Iconography?" El-Kogali: I wanted to make some contribution. Growing up, I did not have any visual references of Sudan. All around me, kids from other parts of the world had these icons, either landmarks like the Taj Mahal, the Pyramids, the Eifel Tower, or the Leaning Tower of Pisa. I had no idea what visual references to conjure up when someone asked me about where I was from. I was working in advertising for a while and felt that I needed to put myself out there and do something creative and thought this is the best thing for me to be doing. In England there was a real sense of appreciation for the work because, I think, people were curious about Sudan and happy to see an alternative perspective. They were happy to see real people going on about their lives.IOL: What images of Sudan do you think people outside of Sudan consider "iconic?" And what images of Sudan are "iconic" to you? El-Kogali: No doubt that the main images that come to their minds are the ones that they see on their TV screens [like] these shocking pictures that come from Darfur of decaying bodies out in the desert. I have seen those [images] in major newspapers in the United States and England. The images are so horribly vivid that they stay with you and unfortunately that is what people outside Sudan are familiar with. I think people who know Sudan well will probably say things like the white jallabiyya (long and loose male clothing) and turban, and Sudanese women rapped in tobs (a long body- rap of light cloth). Those familiar with different regions of Sudan may mention things like tribal scarification, whether it is the shalukh (three parallel cheek scars) in the north, or the tribal scarring of the forehead in the south. Not so much in terms of building though, unless we think of the old mosques in the Khartoum souk, like the Khartoum Grand Mosque, the Tomb of The Mahdi [in Omdurman], the Presidential Place or even the old bridges over the Nile. IOL: Why did you start your work in the north? El-Kogali: I started in the north because I have heritage there and also because the north of Sudan has the worst reputation abroad. It is always the "evil Arab north" [in Western media]. Because of the highly centralized government and issues [related to] the uneven distribution of wealth, people assume that because most members of the Sudanese government are from the north, that the north is the wealthiest part of the country. But going up there I realized that actually nobody is spending any money up there! People have survived because of their own resilience and resourcefulness. I also wanted to visually identify with what it meant to be from the north, to be from [the city of] Dongola. IOL: What makes a good photo-shot? El-Kogali: I think it is a matter of taste. That is a difficult question. It is a matter of preference, some people like to get really close-up and initiate with their subjects and you see they have these really close-cropped pictures. Others prefer wide-angle shots. I am not sure if there is a formula, but generally, something captures my eye and I take the shot. I usually take several shots and change the angels; I may stand up right or crouch down a little. I know what appeals to my visual sense. But what you see with your eyes is not what the camera sees, especially with digital cameras. I think I had more success before I switched to digital cameras. When you take a picture, frame it right and take it, that is what you get on your film negative. With digital cameras there is always something slightly different. IOL: What kind of camera do you use? © Issraa El-Kogali El-Kogali: I am currently using a digital Cannon SLR, a small semi-professional camera, the Cannon XTI/400D. I think I chose it mostly because it is small and light weight. There are some fantastic cameras out there like the Cannon D40 but it is really big and bulky. I am hoping to move up to that one. IOL: How receptive were the people in the north to your work? El-Kogali: People were really open and welcoming. I did not have any issues really. I introduced myself, explained what I was doing, an art related project, and people were happy to have their picture taken. I managed to spend a little time talking to the people I photographed, taking down their names, talk to them about their lives, so the work was more personal. IOL: Is there a particular photograph in this project that you like the most and why? El-Kogali: There are a few pictures that I like of the twenty-nine exhibited pictures. There is an azure blue window with a yellow mudded clay wall around it. It is one I took in Mahas (tribe) country in a village called Wawa. The colors and the simplicity and the beauty of the design really stand out. It is one of those pictures that I think are classic; it could be from anywhere. Another favorite is of a lady from Dongola with the classic three tribal scars down her cheeks and her bottom lip is tattooed. She has the classic look of the Sudanese grandmother. I took the picture at about 7:30 AM and the light was just incredible. She has got this great face, and the way the light touches on her skin, her complexion, her eyes, everything was just right. A third favorite is one that is associated with a regional icon and that is the "Hand of Fatima" or the khamsa khemaysa. It could be seen as a good luck charm, or a way to ward off the "evil eye." I found this "Hand of Fatima" hanging in one of the many tombs found in the Northern State. I found it in the tomb of Sheikh Idrissi. There was a small pigeonhole window in the background bringing in mid-day light into the really dark tomb. So the contrast of that light coming in from the back and that gorgeous blue hand suspended in the air is also one of my favorite pictures and was also very popular in the exhibition. IOL: How did people who attended your exhibition respond to your work? El-Kogali: The responses were very different in Sudan and abroad. In England there was a real sense of appreciation for the work because, I think, people were curious about Sudan and happy to see an alternative perspective. They were happy to see real people going on about their lives. One of my main goals was to take pictures, not just of the people in their environment and their heritage, but also of things in their lives that tied them in with people all over the world. Seeing that kind of positive reaction, I feel like I succeeded to some extent. There was also a great sense of appreciation from people who walked in [to the gallery] from off the street, not people who were invited or had anything to do with Sudan policy or the diplomatic circuit. Many mentioned Darfur and some of the Afro-Caribbean Britons who visited my exhibition felt that the heritage I was portraying was theirs as well. They felt it was a shared heritage, and that was a nice surprise, feeling that link. They were encouraged themselves that there were young people in Africa who manage to express pride and affection for their continent and heritage. IOL: What are your future projects? El-Kojali: In sha’Allah, I hope to be going to southern Sudan very soon. I am looking forward to taking pictures in Juba. At the moment, the theme is A City in Transition but I will wait and see what happens when I get there. And if I can, I would like to revisit eastern Sudan, I was recently there with an NGO called Practical Action doing a photo-documentation of their development projects. I would like to see Kassala again and some of the other towns in the region. * For more information on Issraa El-Kogali's work, visit: http://web.mac.com/issraa http://www.islamonline.net/servlet/Satellite?c=Article_C&cid=1237705555282&pagename=Zone-English-ArtCulture%2FACELayout
