Jono Terry :
A Journey To Kariba
History is different depending on who you ask, then further complicated by the layers it is composed of. Complicated again by the erosion of memory, and then finally lost - when someone stops asking.
Jono Terry, Zimbabwean-born, London-based documentary photographer, is questioning his history in three parts and starting where most ought to, home. Through research and a slow approach to image-making, we are given a glimpse into the complex politics of belonging, family legacy and place.
With a background in photojournalism, his practice as an artist is sensitive whilst being fully aware of how photography can be a politically laden tool, especially when challenging Western colonial narratives and navigating the (sometimes convoluted) landscape of white African identity.
“The work is a critique of white culture as a whole, but also I am acknowledging the weight of my own presence in Zimbabwe.”
Rhodesiana Africanus, a photographic investigation of identity, belonging and colonial legacy in Zimbabwe (formerly Rhodesia) begins under the bougainvilea, which like his own history, is rooted in British imperialism in Africa.
As a grandson of British immigrants to Rhodesia, Terry employs photography to unpack and dismantle his past and that of his birth country since its independence in 1980. “Photography has been this double edged sword where I can be more involved in the story, I can make myself central whilst it being about the bigger picture.”
He continues, “It allows me to find the threads through this landscape, which is quite
convoluted and heavy…and quite hard to navigate because you can pull a thread and more
threads reveal themselves.”
At the centre of Jono’s practice is this emphasis on research, “Before I start a project, I spend at least a year researching without making a single image.” he says. This approach speaks to his journey as a journalism student at Rhodes University, where he “accidentally fell into photography,” and after a period of photojournalism he decided to go to England to do his Masters, this is where his approach to making images was challenged. Subsequently leaning into slower, long term work that is embedded with a focused narrative, as he continues to grapple with the neutral image.
“I struggle letting go of the neutral image, you know, the idealistic journalism troupe of being neutral…which works for the journalism industry,” he says. “I believe all imagery is staged, the photographer decides what remains in frame. I'm letting go of the rigid framework of how to make an image and taking the time to think about what I want this image to say.”
In Chapter II of his exploration, we get insight into the constructed allure of the ‘Rhodesian way of LIfe’, that primarily attracted many to emigrate to Rhodesia. He uses remnants like the swimming pool, a mark of luxury and the pinnacle of the ‘Rhodesian Dream’, to create a dialogue about the disparity of the past, still evident in present day Zimbabwe.
On the power of symbolism and nostalgia evident in his work, Terry states: “We need to understand the historical context of things and symbolism became a way for me to cut through. The challenges with this mode of working is that the the essence of the work has the element of nostalgia and I always worry that people may misinterpret that as a nostalgia for the British empire…”
He clarifies his intention is to cultivate a moment of contemplation and a reflection on time and place. “The danger with photographing things that directly transport you to Rhodesia makes it seem like we are yearning for a time when the swimming pools were not run down. The root of the issue I'm trying to get to is that our national priority might have been quite skewed when we were Rhodesia. I try to distill that into one image.”
Recently, Jono’s lens has been focused on a place that is an important part of his past and a way for us to further understand Zimbabwe’s complicated history - Lake Kariba. Chapter III is confronting the white-washed narrative that has defined Kariba, a place with its own rich veil of mythology and untold history. Terry spent large amounts of time living in Kariba by himself, “very hard work, very lonely sometimes. But also, the most fulfilling time of my life.” It is here where he is challenging the narratives told for the last forty years, and he is learning more that is deepening his journey with the place. This knowledge is making him question his work about Kariba and if he’s doing enough to make people aware of the significant cultural loss that was sacrificed for ‘a big lake’."
“I sometimes wonder if photography is the best way to have these conversations.”
The more you research, read and develop…the more you see it, the more it's there.”
The strength of Jono’s work is its ability to find these sensitive elements, and bridge them back to bigger issues. “We are missing a lot of pre-colonial history, since they are indigenous stories, they are just not told enough.” He states, “The original history is hidden in the folklores and stories.”
A shift happens when a photographer begins to ask questions, “We see the world differently, we are always looking for something. Sometimes that’s a bit of a burden but you hone your eye to things you want to see.”
Images©Jono Terry
