Binghams Black Panthers - Assignment Example

Bingham's Black Panthers Although Howard Bingham is primarily known for his sports photography, and especially for his intimate relationship with Muhammad Ali, in 1968 he was given the unique opportunity to capture the daily life of the Black Panther Party, on assignment for Life magazine. In fact the Black Panther Party's Minister of Information Eldridge Cleaver made the condition that access to the Panthers would only be granted if Bingham was the photographer that accompanied Life writer Gilbert Moore1, whether because of Bingham's ability with a camera, or because "he may be the nicest person on the face of the earth"2, or perhaps even both. But what may have encouraged Cleaver's request may have been Howard Bingham's largely apolitical nature. Bingham always kept quiet about any political feelings that he had, but instead focused on individuals, as is evident in his recent exhibition at the Californian African American Museum; A Moment in Time: Bingham's Black Panthers. The exhibition's introduction summarises Bingham's role as follows; "This exhibition and the accompanying publication, not only showcase recognisable snapshots taken during public displays, but also posed, private and unusual moments that the Panthers' leaders could have only granted to a well trusted soul whose artistry and openness to the cause would be honestly reflected through the lens of a camera. That is the access that they gave to photographer Howard Bingham, from which he created an extremely personal and priceless tribute."3 For me Bingham distanced himself, or tried to distance himself, from the politics of the movement in order to portray the human, everyday character of its members and what I believe he felt to be the essential matters, especially community. It is for this reason that I want to concentrate on one particular photo by Bingham, simply entitled 'Panthers' Headquarters, Oakland'. The photograph shows two young girls, one African America, the other Caucasian, cycling past the Panthers' Headquarter building. The immediate symbolism of the photo is quite clear, portraying the notions of equality and possibility, but what makes the image especially interesting is the apparent anxious expression on the face of an African American woman standing in the doorway of the building as she watches the two children. And when one looks closer at the image the face of a man becomes recognisable in the window of the Panthers' Headquarters, peering out at the children. The viewer immediately asks his or herself what is the reason for the seemingly shared anxious expressions of the African American man and woman, in complete contrast to the children. Another feature of the image that encourages questions from the viewer is the role played by shadow. Although the two children are side by side they are separated by shadow, the African American child within it, and the Caucasian child outside it. But what we must not forget when analysing the work of this exhibition is that these photos are journalism as art, and that it is impossible to know how much of the scene has been constructed by the author. It is very likely that these two children just happened to be riding together at a particular time of day but the image still poses questions. Is the artist attempting to suggest that there is a natural division between the children or is he in fact highlighting the idea that racial division is as superfluous as how the sun's rays reach the sidewalk at a certain time of day, and that the innocence of these children allows them to transcend the division. Is Bingham here suggesting the idea of an integrated future A number of different aspects of the image can be interpreted as a variety of symbols, that lead to more questions arising, and give us an interesting view into, or interpretation of, of the artists own personal feelings towards the Black Panthers, and in fact the entire Civil Rights Movement. It is impossible to tell if the woman at the threshold of the Headquarters is stationary or if she is leaving the building, and can this in any way be related to the anxious expression on her face. Is Bingham here attempting to portray a racial mistrust amongst some Panther members The Black Panthers were accused of being a racist organisation however they always strongly denied any prejudice against any racial group, especially as they moved "from a black nationalist stance to revolutionary socialism to intercommunalism,"4 and worked closely with a number of minority groups including Hispanics, Native Americans, and homosexuals.5 It is interesting to note the position of the man and woman in the picture. The woman, by her posture, is active in the picture, she is on the threshold, whereas the man is firmly planted behind the glass window (a physical division between him and the children), almost hidden amongst the Black Panther paraphernalia posted on the window. For me Bingham here is attempting to suggest that women may have an underestimated role in the Civil Rights movement. The man is part of the Black Panther imagery of the window, he is inseparable from the movement, indeed barely visible in the photograph, and he is separated from what is outside by his position. The man and the movement in this image become one. Does the woman's position however suggest that she is less isolated, that she is closer to what Bingham feels to be the essential issues of the struggle; the innocence of children, and the lessons to be learned from them, and the nature of community. Does the woman have a greater access to that innocence through the children, can she relate her own hardships to those of woman from other races, does she play a greater role in the social and emotional bonds of the community The concept of community plays a very important role in the Black Panther movement, and its social actions, which ranged from operating health clinics, running food pantries, and children's breakfast programs.6 Even the location of the Panthers' Headquarters, as shown in the photograph, places them amongst the community, a caf next door, children playing on the sidewalk. Here, as elsewhere in the exhibition, Bingham seeks to portray the quotidian activities and character of the Black Panther movement. The entire exhibition is densely filled with photographs of varying subjects. Some are portrait photographs of principal members with short biographies and quotes alongside, but the majority of images are of communal activities, whether at rallies, or reading a newspaper, there is a strong sense throughout of unity and togetherness, which reflects the ambitions and programs of Panthers. Images like 'Panther Headquarters, Oakland' serve to place the movement within the community, and to remind the spectator of the private, or human side of the characters displayed. The photo analysed is typical of how Bingham has portrayed the Panthers, present are a man, a woman, children, African Americans, Caucasians, the reach of the Panther movement is displayed. The exhibition can be viewed as challenging the modern misconceptions of the Panther movement. The Ten Point Plan is presented as an accompanying wall text making the viewer aware of the socialist aspect of their ideas, as well as a quote highlighting the non-racist nature of the organisation; "We see the necessity of making some alliances with the working class - black, white, Latin American, Asian. . . We see that as being a very grave necessity that the revolution as a whole is dependant upon making a coalition with the other working class people."7 Although there is little in the way of texts their sparse nature amidst the photographs makes them very accessible and serve to provide some context around the images without in any way corrupting the viewing experience. From experiencing the exhibition, and especially the intimate nature of many of the shots, one immediately develops the impression that Howard Bingham is obviously a trusted character who was able to develop a strong bond with the Panthers during the assignment, yet with this there is no sense of Bingham heroising any of his subjects. He seems to stand outside of the party yet be allowed access to many personal moments within it, which itself reflects upon the characters of the Panthers themselves. Instead of the typical imagery that accompanies revolutionaries Bingham's photos show a more human side, located strongly within the community. From this I believe one can see the character of Bingham himself, what interests him is not politics, the Movement, the myths that surround revolutionary figures, but the people themselves, the individual characters, how they interact with the people and community around them. An article by Frank Deford portrays Howard Bingham's character and sheds some light on how this man was able to get so intimate with these people without succumbing to any kind of bias or getting swept away in the politics of the party, Bingham himself says of the Panthers; "I did not hear all their wants and desires, and everything, I was just a photographer, I just went in and shot pictures and did what I had to do, without getting involved in these organisations or finding out, you know basically I knew, but I, you know, didn't in a way."8 Deford praises the modesty of Bingham, and his charming nature, "For the celebrity gentry he is anti-paparazzo, the photographer as gentleman." And it would seem that anyone who meets the photographer is immediately taken aback by his kind nature, amongst a number of similar elegiac quotes George Jackson, of Motown Records says of Bingham, "When you look up the word benevolent in the dictionary, it should have Howard's picture next to it."9 George Fisher of Kodak speaks of how Bingham is able to relate to his subjects in a unique manner, and how this relationship is brought out in his photographs10, and it is obvious from the exhibition that there is a bond between Bingham and the Panthers, a real attempt on the part of the artist to know his subjects, an intimacy that although real, doesn't go beyond Bingham's role as a photo journalist. Deford mentions one anecdote that serves to highlight Howard Bingham's nature, especially towards the racial division, and the humanity of which is reflected in the artist's photography; as Bingham and Muhammad Ali are watching a film together called City at Peace about white and black children trying to integrate, a woman in the film comments that whites go in one car, blacks in another, to this Ali nods knowingly and says "Nature's way", to which Bingham replies that it is not nature but ignorance that leads to division, it is the people themselves, not the colour of their skin, that is important.11 It is evident that Howard Bingham shows a genuine interest in people, and it is this that is reflected in his photography. On assignment with the Panthers he has not tried to heroise them, or promote the usual conceptions, or indeed misconceptions, towards the group, instead he has presented them, not necessarily from an objective standpoint, as individuals, and not only the public side that by 1968 people were becoming more familiar with. Bingham humanises the group, each prominent member can be viewed in his own natural surroundings, as well as in their public role. The characters never cease to be Panthers but Howard Bingham's photos allow us to see beyond the news articles and urban myths to the people that played such an important role in Civil Rights history. It is natural today for the revolutionary characters of the 1960s to be mythologized, but Bingham's exhibition reminds us of the essential aims and personalities of these people. Bibliography Paul S. Boyer, "Black Panther", The Oxford Companion to United States History, (Oxford, Oxford University Press, 2001) Frank Deford, The Best of Friends, Sports Illustrated, Vol. 89, Issue 2 Neil A. Hamilton, The ABC-Clio Companion to the 1960s Counterculture in America, (Santa Barbara, ABC Clio, 1997) NPR Talk of the Nation, August 29, 2001, Analysis: 35th Anniversary of the Black Panther Movement NPR Talk of the Nation, September 24, 2008, Howard Bingham: Photographing Ali and America Read More