African Photography and the Suri

Bigiri and Bagoshi

The Ethics of Cultural Exoticism at the Expense of Authentic Human Interaction

Amidst the rolling hills of southwestern Ethiopia, on the west side of the upper Omo Valley lies a community with a culture that has become famous for both traditional and more recent social adaptations. The Suri are a small tribal population of fiercely independent people that possess various attributes of culture that goes far beyond the stylized face painting that has made them famous. The Suri themselves have adapted to an economic opportunity catering to photographers and tourists seeking unusual destinations and experiences. They are genuinely self-confident and undeniably highly artistic and intuitive. In many ways the Suri themselves are practically adapting to the inevitable arrival of tourism and exploiting the situation no differently than any other group of people seeking to leverage their strengths and available assets to compete with their rivals and extract resources. They themselves are undoubtedly amused and sometimes irritated by our interest in their inventive decorative arts with little traditional meaning. As a humanitarian photographer, I seek to capture the common humanity that we share while honoring the unique beauty of individual cultures. I avoid describing most of my work as photojournalism, as I do believe it is important to accurately portray photos for what they represent and/or what they do not. As aesthetically interesting as the exotic-looking portraits of the Suri may be, they do not reflect how people go about their daily lives. Still, I believe that both realities can legitimately coexist. The images can be artistically beautiful, reflect a unique talent of a people that builds on a seed of traditional practice and still capture real human emotion while at the same time fully acknowledging that they also represent cultural adaptation as a result of exposure to a specific sort of selective pressure even if they not seen in this form as part of daily routine. The portraits do contain elements of traditional practice, although are perhaps more accurately described as artistic economic activity that leverages traditional skills. The Suri do historically apply body paint in some situations, although which elements might represent truly authentic expressions of body painting are admittedly difficult to discern. It would be hard to imagine that shaving their bodies and scalps as well as creating elaborate scarification are done for the sole benefit of tourists and are indeed part of daily village life and culture.

I also appreciate the point of view of those who may be critical of such photography which is sought as a trophy of perceived exoticism at the expense of genuine human interaction. I have also attempted to consider these perspective as well as research, understand and report the significance and authenticity of these practices as best I can so that the cost/benefot and context of the images can be appreciated and understood. However posed one might suspect such portraits of the Suri may be, my experience was that it was the Suri themselves who quickly placed the plants, applied the paints and more often than not, instinctively positioned themselves for interesting photographs. We were hardly the first visitors to the Suri so it is reasonable to assume that those who came before us undoubtedly taught them (directly or indirectly) what foreigners might find image worthy.

Nature

Some have challenged the appropriateness of such forms of tourism, expressing concern that images and stories that focus only on the exotic nature of these people dehumanizes them by providing only a limited understanding of the reality of their existence and risks exposing ourselves to the pitfalls of mis-representing their society and rich culture. Expressing this more harshly are some ethicists that have argued that graphic representation of the Suri (or other images of what we find to be visually “exotic” is a form of modern colonialism asserting that the interaction is neither reciprocal nor equal with regards to power or agency. Such inequities cannot be completely denied nor can the negative consequence of insensitive interactions from a rushed visit to these villages. However, as individuals we can strive for a more positive impact by approaching these people less as exhibits in human zoos, but instead invest the time to demonstrate genuine interest in not only what appears unusual and exotic but also in what is human and meaningful to them day to day, even if more mundane and routine. Sitting down without a camera to demonstrate interest in their names, their relationships and the rewards and challenges of village life brings humanity and humility to both the visitor and the visited. It also provides the opportunity for empathy in the face of the realities of their lives as well as the obvious strain thrust upon them as a result of the intrusion of impatient tourists who view the encounter as a simple transaction limited to the taking of large numbers of pictures in exchange for a small sum of money. My time with the Suri and my subsequent reflections of these encounters have reminded me a great deal about the essential need for sensitivity when visiting other cultures so different from our own. The Suri are indeed interesting, but they are first and foremost human beings. Prioritizing genuine interpersonal interaction provides us not only the opportunity expand our appreciation beyond their physical beauty and natural artistry, and affords us all immeasurable opportunity for meaningful human connection. The Suri live in an harsh environment where food is difficult to grow and the government officials has squeezed their access to their homelands and placed significant pressure for changes to their traditional ways of life. The ready access to automatic weapons in the region has also resulted in continued escalation of violence and deteriorating safety for all of its people. These issues may represent far greater threats to the preservation of Suri culture and in fact their very lives than does tourism. Nonetheless, this relative lesser threat does not excuse insensitivity or dismissal of our shared humanity. I can only hope my fellow photographers who visit these people and their captivating cultures will assume a more deliberate approach to our limited time together to create a less exploitative and genuine human interaction. We must contemplate the immediate impact of our presence as well as the long-term impact on the preservation or degradation of their cultural traditions.

Gendi

African Tribal Culture: Suri Agriculture and Cattle Camps

The Suri people live in small villages of a couple hundred people each which are mostly made up of women and children. Here they tend their meager subsistence gardens comprised of basic foodstuffs such as corn, cabbage, cassava, squash, and beans. Men spend much of their time at cattle camps that are generally located quite some distance from the villages. They establish these temporary camps in strategic locations, where they may reside for several months while forage is available for their cattle. These camps also act as a defense mechanism, allowing the Suri to safeguard their cattle from predators and rustlers. In addition to the rather dramatic practice of blood drinking, the men in these camps also practice various animist traditions and music and dance rituals which have been passed down through generations. The care of cattle is primarily the responsibility of men and young boys, although sometimes young girls can also live and assist at the camps.  Men often come and go sharing responsibilities with their close male relatives to allow them to occasionally return to their wives and families in the villages. The rather pervasive presence of AK-47s is also seen in and around the camps, and is considered an important deterrent to other groups who might try to steal the cattle.

Cattle are the Suri’s most prized possessions and an important centerpiece of Suri culture.  Cattle ownership in fact equals wealth.  Suri do not typically eat cattle, although they can be sacrificed for specific ceremonial reasons such as a funeral.  On a more routine basis, Suri men drink milk and blood as important food sources in the camps.  While milk can be removed and/or drank by women, it is forbidden for them to drink cow blood It is important to note that inconsistent with some reports, even in the camps, the Suri do not exist solely on milk and blood, but supplement their diets by eating plants and small animals that are found in the surrounding forests.

Fresh blood is only removed in a specific corral constructed for this purpose and drinking involves a highly ritualized ceremony that involves chanting, dancing, beating drums and blowing horns fashioned from cattle horns.  A fire is first fueled with green brush and dung to create plenty of smoke to discourage flies and mosquitos. The cattle are then corralled and one who has not been recently bled is identified. A superficial wound is then made to the selected animal’s jugular that does no lasting harm. The cattle are bled on a rotational basis and marked to identify them after they are bled and ensure they have sufficient time to fully recover. Usually the blood is collected into a vessel such as a gourd, but drinking directly from the cattle can sometimes be observed as shown in the accompanying image. The Suri take great pride in their ability to care for their livestock, and these tasks form an integral part of their daily routine within the cattle camps. Milking, herding, and tending to the cattle are essential tasks that require skill and expertise to maintain this important source of currency and wealth in Suri society. While living in the camps, the men generally do not wear clothes and often cover their bodies with ash and can paint themselves with cow manure as illustrated in the accompanying image.

Young man in a Suri cattle camp

Suri man decorating his body with manure as part of a blood drinking ritual

Suri men puncture the jugular to bleed a cow for a meal in a cattle camp

Suri man drinking blood directly from a cow

Documentary Photography of Suri Stick Fighting (Donga)

An entourage of men and boys arrive for the stick fighting Donga (or Sagine).

One of the most fascinating aspects of Suri culture is the traditional sport of Donga Stick Fighting which is referred to as Sagine (or some variation) in the Surma language.  Men take part in this ritualized form of combat to settle disputes, challenge one another for fun and to showcase their strength and courage as well as win the attention of young women . Stick fighting involves two competitors using very long hardwood sticks to strike one other, with the goal to knock the opponent to the ground. The sport is accompanied by vibrant chanting and dancing, creating a spectacle that is awe-inspiring and deeply rooted in Suri tradition. Here we may see men decorated with various body paints that as noted, are part of core Suri tradition. It has been reported that demonstrations of stick fighting can be arranged as staged tourist spectacles involving a small number of fighters. In contrast, authentic meets are large pre-arranged assemblies between multiple villages and are less frequently witnessed by outsiders due to their remote locations and the fact that they are technically Illegal.  Access to authentic stick fights requires careful negotiation with the village elders who expect a sizable fee for the privilege of witnessing traditional sport, especially when taking photographs. 

Dozens of Suri watch a Donga match

While the Suri have traditionally defended their land and cattle with physical strength and manual weapons, ever since the outbreak of civil war in South Sudan, the Suri, and in fact most people in the Omo Valley have had ready access to AK-47s. These are not only a significant status symbol but also provide a serious competitive advantage.  This ubiquitous presence of these automatic weapons when alcohol is often readily consumed can result in volatility with potentially lethal consequences. 

Dongas are generally held between different Suri villages, with as many as 20 or more warriors on each side. Men fight naked to demonstrate their bravery.  While some head and joint protection can used, it is minimal and the the risks remain high. Stick fighting is extremely dangerous and it would be unusual to witness a Dongo match without significant injury and even death is not uncommon.  We witnessed many serious soft tissue injuries and at least one major concussion.  While warriors may proudly display their blood and wounds, they do not exhibit pain or discomfort. There is also no access to medical assistance. Referees are also present to ensure that the rules are followed, which is absolutely essential to prevent violent reactions from the side that might feel wronged. Not that there are a lot of rules, except that you cannot hit a man when he is down.  Doing so would be a serious infraction that could result in a more serious reaction from the family and friends of the wronged. The large audience of a true Donga and the associated drinking of alcohol further increases the chances that violence may escalate.  If rules are broken and a village feels cheated, shooting can easily break out in an attempt to settle the argument. 

A Donga (or Sagine) match requires great strength and skill

Following a match, the winner may proceed to the young women who are always there observing.  If a woman presents the warrior with a beaded necklace, it is a signal that she agrees to date him. If he accepts the necklace, he also agrees.  The popular champions swagger about with huge collections of necklaces as shown here.

These fights are an integral part of Suri culture and these photographs represent a vibrant expression of true Suri culture in its rawest form and these matches showcase the athleticism of the Suri warriors and provides a window into their social dynamics and rituals. These photographs represent true documentary photography of Suri culture as these were not done for our benefit, were not staged in any way. We captured what was happening in real time and we were generally ignored by both participants and spectators alike.

A Sagine champion with body paint and a significant collection of beaded necklaces from female spectators.