Good morning, everyone!!! Ahhh…quick breather. January is almost over. In the brief span of time that’s transpired since the term began, I have made substantial progress focusing on my applied project. This progress is due, with great thanks, to Dr. Beth Swadener, who has facilitated a writing seminar; my peers in Dr. Swadener’s course; Dr. Rose Weitz for her continued support and acceptance on my applied project committee; Nancy Dallett for being a wonderful sounding board and constant companion in my work life; my peers in my SST course this semester; and most certainly, my friends and family who stand by me during this crazy adventure, both academically and through this blog.
Today’s blog is built on one of the materials that will find its way into my applied project. Recently, I found Liam Kennedy’s 2009 article, Soldier Photography: Visualising the War in Iraq. The article is available through the following stable URL:
If you do not have access to this resource via an academic library, like I do with ASU, the download costs $34 or you can read it online by registering for a JSTOR account.
Getting back to today’s discussion, I think Mr. Kennedy brings up some excellent points about why service member (my preferred term versus his term, ‘soldier’) photography is aiding a better global discourse on the understanding of war. Below is a great insight he adds to how the communication process regarding ‘war’ has changed over the decades:
“The Vietnam War was the first televised war, the first Gulf War was the first satellite war (CNN’s war’) and the wars in Afghanistan and Iraq are the first digitised wars” (Kennedy, 2009, p. 819).
So, why is the change in communication important?
In a nutshell, the answer to this question is this correspondence teaches us the reinforcement of cultural perspective and operational burden in war, both operational security and trauma sustained by service members (Kennedy, 2009).
For many reasons, I have taken for granted the ‘freedom’ I enjoyed to share my deployment experiences with friends and family members with almost instantaneous feedback. On many occasions, it took me several saved drafts on MySpace to craft a post for my loved ones but the next time I logged in, I would have some responses to my situation. These messages sustained me when snail mail was lacking. I knew my family cared for me, despite their beliefs about war–in general–and about my war, specifically. One of the best benefits to this freedom was corresponding with loved ones who also operated in different areas of Iraq, at the same time. I cannot discount how important it was to know friends were safe despite being located in close proximity to indirect and direct forms of combat engagement.
With respect to both deployments, I didn’t take a significant amount of photos. I used several disposable 35mm cameras for Operation Iraqi Freedom 2-2 (1st Marine Division deployment) and had both disposable cameras and a digital camera my husband sent over for the second deployment, Operation Iraqi Freedom 5-7 (3rd Marine Aircraft Wing where I deployed with Marine Aircraft Group-16, known as MAG-16). I would aptly agree with Kennedy that ‘tourist’ photography describes the majority of photos I took for both deployments, like many of my peers’ photographs. The landscape is different, the ‘feel’ of the base, while it retains aspects of American culture, is a smaller version of American consumerism. Camp Blue Diamond had a small internet cafe crafted out of a trailer with plywood dividers to give individuals some sense of private conversations. A PX (Post-Exchange) also crafted out of a trailer provided a small array of necessary items, like service chevrons, and coveted items, like snack foods.
When it comes to photographs of my self, I have very few. Because it is significantly still a taboo subject to date in a combat zone, I only had one photograph using my cameras of my boyfriend and I together on my first deployment the day I left Blue Diamond, February 25, 2005. The others I have of us relaxing with Marines from his work were taken by him or members of his unit. For my second deployment, the best photos of me at work and at play were compiled into a unit video. Unfortunately, my computer does not take good snapshots from the video. I will try to find another way to acquire those photos to share. There was a great one of me in one of the chairs in the palace in Baghdad and I look incredibly tiny. See…again…that tourist tendency.
I do regret not taking more photos because there is so much to learn from those experiences. Camp Al Asad was essentially a small city unto itself (and likely, retains some of those features). We had a Subway, coffee shop, Pizza Hut, and Burger King, a barber shop, and many trinket shops, just on our side of the base alone. I was too nervous to travel the rest of the base by myself. Instead, I spent much of my second deployment walking to the internet cafe set up in the operations center. My (mostly) solitary walks provided me the opportunity to appreciate the natural beauty that is Iraq, with its limited infrastructure. Sunrises and sunsets are incredible.
However, as important as it is to discuss our visual representations at war, we must equally discuss coming home. Below are some brief snapshots to show how transition is discussed (as of 2005).
Additionally, please enjoy a small peek at what my barracks life looked like in early 2005. It was a pretty spartan existence compared to the 1,400 sq. foot home I occupy with nearly 10 years’ worth of furniture, artwork, scrapbooks, etc. that make up my current life. I lived in one of the barracks on the Camp Margarita area of Camp Pendleton near the Subway.