Conversation with the Curator
Four Questions with Samantha Rose Mandeles, photographer of “The Abayudaya: Portrait of an African Jewish Community.”
The Abayudaya, who number about 2,000 souls, are concentrated in a few towns and villages in eastern Uganda and western Kenya. Devout in practice, keeping kosher and observing Shabbat and holy days, the Abayudaya (a word in the local language Luganda meaning “People of Judah”) have been recognized as Jews by Reform, Reconstructionist, Conservative and Renewal movements of Judaism.
Ezra Uganda Assistance, a 501c3 non-profit founded 2016 by Washington area rabbi, teacher, and author Leila Gal Berner, supports the Abayudaya community of Namutumba. EUA board member Samantha Rose Mandeles is a skilled travel photographer. Mandeles took all of these photographs during the two weeks she lived in the village of Namutumba in late 2021, on a mission to hand-carry a Torah donated by Temple Beth El of Hammonton, NJ, which was closing its doors.
A portion of all sales in this exhibition will go directly to support the Abayudaya living in Namutumba.
“The Abayudaya: Portrait of an African Jewish Community” exhibition closes October 6. Watching people slow their stride through the Bodzin Art Gallery has been a wonderful testament of human-to-human connection. Regardless of how we see these portraits, child to child, parent to parent, Jew to Jew, is a reminder of why cultural exchange is essential. It is a pleasure to share these impactful photographs and Samantha’s responses to my four questions.
Enjoy,
Sarah Berry
Curator, Bodzin Art Gallery
What came first, your love of travel or your love of photography?
I can’t really separate the two. I love traveling. I have two world maps where I can scratch off every place that I have been. But when I travel, I see everything with a photographic perspective. It’s an artistic habit—I’m always looking at composition, texture, perspective; for unusual and interesting juxtapositions, perhaps things that you wouldn’t expect to see together. And I’m very interested in color and texture—how the different colors and textures are shaping my impressions, how they are contrasting or blending together. As an example, one of my favorite pictures from the exhibition is Mother and Boy in Blue. It’s a photograph that tells a story, but it also attracts me because of the vivid color–the brightness of the cobalt blue shirt contrasting with the rich brown of the mother’s skin, the striped pattern on the boy’s tee contrasting with the florals of the mother’s skirt, the yellow highlights in her hair, and the shine of their plastic chair.
Most of your photos from Uganda are of people. How did you gravitate to this documentary style?
Certainly part of the emphasis on people in my Uganda photos was directly related to my mission of understanding the lives of the people in Namutumba, and bringing images that communicated about them and their lives to a wider audience. But even putting that aside, the most compelling images had to be built on the people—they were beautiful both in their external appearance and in their internal spirit. Who they are as people and as Jews just emanates through them and I wanted to capture that essence in my photography. Their faces were so varied and beautiful, their expressions were so communicative, their clothing was so colorful, it was irresistible. And, the people were the story; without the people, pictures of the place would have been mostly mute. The other thing that makes me smile as I think about it is that these folks really, really wanted to be photographed. They were thrilled to have me snap away freely and they made it just a joy.
What were the high and low points of your visit to Uganda?
The high point was definitely passing the new Torah to the community on the first Shabbat I was with them, and experiencing the Shabbat Torah service they were able to hold for the first time from this Torah. It’s hard to describe in words—so much joy, so much gratitude, so much spiritual energy. Of course, there are no photographs of this special experience, as it was Shabbat when photography is not permitted. The low points mostly were my travel experiences—getting to Uganda aboard multiple airplanes, through multiple airports, shlepping the heavy Torah while wearing an orthopedic boot and trying to convince various airline personnel that I really did have to carry the Torah on board, and no they could not put it in the baggage hold. It was a nightmare.
Do you have any advice to share with aspiring documentary photographers?
Maybe it goes without saying, but the story is really the point in documentary photography. You have to figure out what story you are trying to tell in each photograph—although the larger picture of the collection will only emerge as you go. Don’t look for perfect, look for what fascinates you or moves you or makes you want to cry or laugh. And you don’t need fancy equipment. I shot my photos with an amateur DSLR and my phone camera. If you only have a phone camera, that’s ok. Take a lot of photographs and use them as learning tools so that you build your understanding about composition, focus, and color. Show your stuff to friends and family and ask for feedback; they don’t have to be photography experts either. Most of all, find subject matter that you are really curious to discover. Don’t worry about audience, or about what other people will like, just click away and have a blast.
