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An Inifinite Influence: Robert Frank & The Creation Of Photography

In Photography on December 25, 2009 at 12:04 pm

Robert Frank’s The Americans may actually be the only book that can safely claim to have influenced the work and inspirations of most any photographer, documentarian and photojournalist born and working since the 1950s. There isn’t a Most Influential Photographers Of The Century list that will not list Frank’s name. This is truly one of the great documentary works of our time, and worth seeing again and again.

Luckily for us, there is a spectacular show at the Metropolitan Museum of Art called Looking In: Robert Frank’s The Americans. It runs until January 3rd 2010, so rush to see it.

The photographer Dominique Nabokov spoke about the exhibition and Robert Frank in a short podcast on the New York Review of Books. You can listen to it here:

This is photographic work that reminds you of the singular beauty, power and relevance of the photograph – facts that we have forgotten in our rush to become ‘modern’ and multi-media. Nothing holds the eye, and the mind, as a photograph and it is to our detriment that we have cheapened the craft with the dominating seduction of speed to product that digital photography offers and an associated indifference to the patience and close observation that reveals more and reveals long.

Robert Frank’s work has survived nearly sixty years and will survive well into the future. It is a timeless effort, journalistic, documentarian, human and as Nabokov herself points out, ‘miraculous’.

Photographers I Like: Balazs Gardi & Facing Water Crisis

In Photography on December 23, 2009 at 2:35 pm

Magazines were once the principal and perhaps most sought after outlet for working photographers and photojournalists. Even today, most photographer resumes feature a large (and sometimes ridiculously extensive) list of ‘client’ publications that have featured the their work.

But the realities of a fading magazine landscape – a fading that is creative, intellectual, informative, journalistic and financial, has compelled many to turn to their own resources and resourcefulness to bring to life important and compelling stories. Magazine will remain a source of making hard money, but frankly, I suspect that they will not be important as the final destination of a working photographer’s ideas and aspirations. Getting a double-page spread in a famous American weekly journal will not be the ‘trophy’ that we once considered it to be.

A photographer who is bravely, creatively and interestingly staking out his own path is Balazs Gardi with his Facing Water Crisis Project.

Ramkadar, left, takes rest in front of a public well in Mumbai, India. He pulls a 500 liter water tank for 12 hours a day in downtown Mumbai, selling drinkable water to local residents and earning about $5 a day. Although Mumbai, India's financial capital, has a fairly good water distribution infrastructure, many residents rely on hundreds of workers like Ramkadar. Copyright Balazs Gardi

A member of VII Network, I met Balazs in Dubai earlier in 2009 and was impressed with his independent spirit and confident belief in his own ideas. I also found it refreshing that he was not a self-absorbed, narcissistic blow hard gushing about himself and his work. Qualities that would however be quite reasonable for someone who is a multiple World Press Photo winner amongst other achievements.

Check out the project website and explore how a photographer is charting new grounds, aware of the risks, but determined to have his say, and to speak to issues at a level of complexity and engagement that a magazine format and most magazine editor’s attention span will just not allow.

Fate Always Conspires To Embarrass Or The Leica M9 Digital Rangefinder Reviewed By An Avowed Film Shooter

In Photography on December 1, 2009 at 11:04 am

Just a couple weeks after I wrote a post highlighting my preference for shooting film and the personal reasons why I always return to it when I am not shooting ‘time-to-delivery’ client assignments, I was invited by a local Swedish magazine to test out the new Leica M9. The post titled Why I Shoot With Film & Why You Should Give A Damn generated a number of not-so-pleasant responses. Regardless, my original sentiments remain.

So I think that it was with some glee and mischief that a local Swedish technology magazine asked me to take the Leica M9 out for a spin. I am certain that I saw smugness in the faces of the editors as I was handed the Leica M9. (I also believe that there is an alien space ship parked in my backyard studying my life. My psychiatrist/doctor/padded-cell guard confirms that it is real, so there!)

Shot With A Leica M9 and Leica Summicron 50/2 lens at ISO 400. Aperture not recorded.

This is a photographer’s review, not a technicians. It is based on a few days spent making pictures with the camera, and focusing on the ability of the device to meet my way of working and producing images. Nothing more. There are many more sites out there that evaluate the technicalities of this camera and various comparisons of microscopic details.

So here it is, as it was originally written (and later translated into Swedish):

Leica range-finder photographers can be a stubborn lot. They are not only married to the convenience of working with small, light, and discreet cameras, but also to the unique techniques an all-manual focus and exposure photographic device demands. The arrival of the digital camera, with its greater utilitarian advantages of immediate results and lower costs, tested this stubbornness; the range-finder has been abandoned by most and a mass exodus of the professionals to the digital SLR has taken place. There has been no choice.

Enter the Leica M9, the world’s first full-frame digital range-finder camera, and the final nail in the coffin of the argument for sticking to film-based range-finder bodies. A few days shooting with this camera, generously lent to me by the folks at Schönherrs Foto in Stockholm, I realized that I was holding a device I would gladly swap my film-based Leicas Ms for. Its price tag of SEK 63,400.00 in Sweden (~$ 9,200) will deter all but the most dedicated. Many will compare it to cheaper and seemingly more sophisticated digital SLR cameras, but they would be comparing apples to oranges. A range-finder and a SLR are two completely different beasts and offer different advantages.

The Leica M9 retains the form and footprint of the classical Leica M body – a design that has stood the test of time and remains largely unchanged from its first introduction back in the 1950s. And hence it retains the convenience of compactness and lightness that made the Leica M once so popular with professionals. In sharp contrast to ponderous professional digital SLR bodies, the digital M9 offers a full-frame 18-million pixel sensor in a body that is compact enough to fit into a coat pocket and weights less than 600g!

The simplicity of form is also mirrored in the simplicity of digital functions – the M9 offers an essential, but minimal set of digital setting which is much appreciated by this photographer tired of the over complicated and frankly distracting series of ‘customizations’ and ‘personal modes’ offered by many digital SLR camera manufacturers. Automation is kept to a minimum – a built in motor-drive that can be ‘overridden’ in single-shot mode, and an Aperture-Priority setting. A flat menu-hierarchy allows you to quickly get to essential settings like file size, lens type, white-balance and exposure bracketing. A dedicated button at the back of the body adjusts ISO/ASA values.

For a veteran Leica M shooter there is little new to learn here. One misses the film crank because it was also an important part of a Leica grip, and the noise of the motor drive, however low, can be distracting. But other than that I cannot find much else to complain about. My field test was more about its ease of use and responsiveness e.g how minimal was the shutter lag and I came away very pleased. The M9 produces beautifully images, with subtle color tones, an excellent dynamic range and with none of the over-saturated look that is typical of digital images. For pixel-peepers and those with a more ‘tech-savvy’ bent, there are a number of more ‘technical’ reviews on the internet. I recommend Erwin Puts extensive discussions on such matters (see Tao of Leica for more details)

Conclusion:

This is a simple camera, with a sensor that produces spectacular images. If you are already a range-finder user you can just pick it up, set up a few key parameters and be out and shooting within minutes. For those coming to the Leica M9 from the SLR world, it may pose a bit more of a challenge. An all manual range-finder requires skills and techniques different from those used in all-automated SLR cameras. It places greater onus on the photographer, such as being able to proactively set exposures and work using zone and hyper-focal distance focusing. However its uncomplicated operation offer the photographer new avenues to explore in her photography.

And therein lies the real strength of the Leica M9; it is simple, uncomplicated and celebrates the individual photographer and her agency. In a world fascinated by gimmicks and novelty, the Leica M9 offers simplicity for form and functionality that when combined with its compactness, speed and spectacular digital images makes for a superb photographic device.

Addendum: I will continue to work with my film Leicas of course. The Leica M9 is priced for the not-faint-of-heart. That being said, the M9 is a fantastic camera and as I said above I loved shooting with it. It requires careful exposure control and is unforgiving to the point-and-shooter type who expect the camera to ‘get it right’ for them. Thank goodness!

Pankaj Mishra & The Heritage Of Indian Pluralism

In Photography, The Daily Discussion, Writers on November 28, 2009 at 4:47 pm

Pankaj Mishra, one of my favorite writers and intellectuals, has written a fascinating essay for The National newspaper title Beyond Boundaries that speaks about India’s long and resilient syncretic traditions.

I have featured his piece, thanks to his kind permission, on my The Idea of India project website. For those who may not know, this is a long-term project I am working on documenting India’s heritage of pluralism and syncretism.

Mishra’s essay could just as well have been the project description!

Mishra’s essay, as most of his essays, is precise in its historical details and vivid in its descriptions. He reminds us that despite nearly 70 years of assaults by fundamentalists Hindus and Muslims, India’s vernacular and popular traditions survive and thrive. As he points out:

Early in its millennia-long presence in the subcontinent, Islam lost its Arabian austerity, mingling with local religious traditions to become something that Wahhabis would abhor. Incredibly, much of the subcontinent’s “composite culture” has survived both the divide-and-rule strategies of British colonialism and the rivalry between the nation-states of India and Pakistan, which has produced three major wars since 1947. This enduring pluralism is rooted in the traditional diversity of religious practice across the subcontinent – marking a contrast to the more recent state-guaranteed multiculturalism of Europe and America. Here the pluralism preceded the establishment of the modern state, and it is often at odds with the state’s insistence on singular identities for its citizens.

A determined refusal to bow to the dogmatic and ideological dictates of the fundamentalist simpletons is a very basic motivation for my own work in India. And learning more about our popular traditions and their foundation of love, tolerance, acceptance and compromise is an important weapon in our struggle against the extremists.

This heritage, beautiful and strong, is also an important lesson for the citizens of Europe and America. We do not turn to South Asia to learn and understand, but we would do well to do so now. As a hideous and inhumane Islamophobia and Muslim-bashing consumes an insecure and paranoid Europe/America, they would do well to examine how India has managed to produce a complex and magnificent society whose very nature respect and celebrates diversity, complexity, difference and syncretism. As Pankaj Mishra himself points out:

It may be useful to contrast India’s lived experience of pluralism with contemporary Europe, especially as the latter tries to renovate its faded ideals of secular citizenship while longing for its old cultural uniformity. The secular liberalism of the nation-state has demanded conformity and obedience from Europe’s citizens. Upholding an abstract idea of the individual citizen divested of his religious and ethnic identity, this liberalism has not had an easy relationship with Europe’s ethnic and religious minorities, to put it mildly; the current obsession with Muslims, for instance, betrays a deep unease with expressions of cultural distinctiveness (previously exemplified in Western Europe by Jews). The rise of right-wing parties across Europe shows that masses as well as elites are embracing majoritarian nationalism, recoiling from what, by Indian standards, seems a very limited experience of immigration, social diversity and political extremism.

Indeed, it is useful. And it is needed.

Photographers I Like: Jason Eskenazi talks about His Work Wonderland

In Photography on November 23, 2009 at 8:14 am

Jason Eskenazi is a photographer I greatly respect. Independent in mind, brilliant in eye and passionate in photography. I tried to meet him once – back in 2006 at Visa Pour L’image in Perpignan, France. But he was too busy to give me any time. I wish I had had a chance to sit over a coffee and pick his brain about the way he thinks about and structures projects. Oh well, just another disappointment to write about in my now-too-boring-for-words angst-ridden ruminations in my Moleskines!

Here is an interview with Jason, thanks to the Lutton/Brauer duo at dvafoto, who talks about his work in Russia – a portion of which was produced with the help of a Fulbright grant (Jason also received a Guggenheim!), and which was released as the book Wonderland: A Fairytale of The Soviet Monolith

more about “Jason Eskenazi talks about Wonderland…“, posted with vodpod

 

Photo Projects I Like: Joseph Rodriguez’s Reentry In Los Angeles

In Photography on November 3, 2009 at 10:01 am

www.josephrodriguezphotography.com screen capture 2009-11-3-10-53-13 copy

 

Don’t Say I Didn’t Tell You So

In Israel/Palestine, Photography on November 2, 2009 at 6:52 am

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This Land Called Gaza – A Love and A Curse

In Israel/Palestine, Journalism, Our Wars, Photography on October 24, 2009 at 3:38 pm

“And what projects are you working on at the moment?”

“An exhibition…and…I’m working on the completion of a new book, something very close to my heart.”

“What’s it about?”

“The Palestinians.”

There was a rather long silence…my friend looked at me with a slightly sad smile, and said “Sure, why not! But don’t you think the subject’s a bit dated? Look, I’ve taken photographs of the Palestinians too, especially in the refugee camps…its really sad! But these days, who’s interested in people who eat off the ground with their hands? And then there’s all that terrorism…I’d have thought you’d be better off using your energy and capabilities on something more worthwhile!”

Swiss photographer Jean Mohr describes a conversation with a friend.(1)

Palestine is a thankless cause, one in which if you truly serve you get nothing back but opprobrium, abuse, and ostracism…Palestine is the cruelest, most difficult cause to uphold, not because it is unjust, but because it is just and yet dangerous to speak about as honestly and as concretely as [he] did.

Edward Said on intellectual/activist Eqbal Ahmed. (2)

Jabaliya, Gaza February 2009 Copyright Asim Rafiqui

Jabaliya, Gaza February 2009 Copyright Asim Rafiqui

Most independent photographers arriving in Palestine carry with them the awareness that much if not all of their work will go largely unpublished. This is not only because Gaza and the West Bank are amongst the world’s most thoroughly photographed human tragedies, but also because speaking of the Palestinian’s as a real people with real suffering remains near impossible. Their story has been effectively reduced to that of ‘terrorism’, ‘extremism’ and one of ‘instigators of violence’. Their rights and demands for justice drowned out by the shrill insistence on Israel’s infinite innocence and need for restitution for historical wrongs. And on presumptions of their mendacity and single-minded determination to destroy ‘the Zionist entity’. Even President Barack Obama, in a recent speech in Cairo, placed the principal responsibility of regional violence on their weak, unarmed and repeatedly defeated shoulders. Photographers and journalists who try to reveal a different reality or raise questions about the myth of Israeli innocence or question the assumption of Palestinian mendacity, find themselves ignored, marginalized and unpublished. Independent photographers who come to Palestine do so armed not with major assignments but with convictions that are personal and individual. And they usually come alone.

I arrived at Rafah, Egypt – the only crossing into Rafah, Gaza, during the last days of Israeli’s Operation Cast Lead. This time I was luckier than most for I had the support of a Pulitzer Center for Crisis Reporting grant and the encouragement of Ted Genoways, the creative and poetic editor of The Virginia Quarterly Review magazine. By the time I argued my way into Gaza, a way repeatedly blocked first by the Israelis and then by the Egyptians, I found myself in what had by then become only one of the most important prime time news events of the year.

The Israeli assault on Gaza began on the last day of Hanukkah on December 27th 2008 and eventually left nearly 1400 dead, thousands injured and tens of thousands displaced. It was covered by every major international TV news channel, daily newspaper and weekly magazine. Their cameramen, on-screen personalities, photographers, directors, fixers and coordinators stormed the walls of Gaza in a rush to film, edit, transmit and broadcast the events as they unfolded. On any given day, at any given hour, dozens of videographers and photojournalists could be seen in the hallways of Gaza’s famous Al-Diera Hotel speaking anxiously into their mobile phones, or sitting at tables in the restaurants, hunched over their laptops, cursing the slow internet connections and desperately transmitting their latest images. And when they were not scoffing down a quick meal, they were furtively discussing plans with their local minders, or rushing towards their waiting cars to get to a ‘hot’ location. Amidst this mob of media I, with my little film cameras and a small grant that gave me the freedom to work at my own pace, found myself apart, confused and more alone than ever before. How would what I came to say be heard over this noise?

My first time in Gaza was in the summer of 2003. I was a novice photographer who went because Edward Said wrote a small response to an email I sent him and encouraged me to go. I then returned and continued to document the situation in Gaza, particularly in southern Gaza city of Rafah where I worked for nearly 2 years. The settlers were still in Gaza then, and so were activists from the International Solidarity Movement (ISM), and the armored bulldozers and their accompanying tanks that were constructing the massive steel wall along the Rafah’s border with Egypt. The American activist Rachel Corrie, who was crushed to death by an Israeli armored bulldozer, was still there; alive, determined, passionate and beautiful. Home demolitions were frequent along the Rafah-Egypt border as bulldozers tore down Palestinian homes to make way for the steel wall. Tank patrols would terrorize residents living along the border, and there would be frequent firing into these neighborhoods resulting in deaths and maiming of residents. As a photographer I documented my fair share of funerals, Hamas marches and families salvaging their belongings from the ruins of their destroyed houses. Between 2003 and 2006 I made several trips to this surrounded territory, continuing to document the slowly shrinking social, political, economic and cultural space of its inhabitants.

And then I stopped coming. Dozens of courageous Palestinian photographers were doggedly documenting the bitter and crushing existence of the Gazans, and the incessant economic and military violence against them. The international photojournalists too kept coming to photograph the ‘militants’ and the ‘fanatics’, as if to provide the ‘facts’ that would maintain what Saree Makdisi has recently called a language that prevents us from recognizing what’s really going on in the Middle East.3 I felt that after three years of consistent work I had nothing new to add to this dialogue, nothing new to show. In retrospect I realize that it was an act of surrender by a young photographer frustrated by his inability to effectively capture in pictures the sufferings of those around him..

But now I was back again, and walking through the devastation left the aftermath of Operation Cast Lead I was struck by how familiar it all looked. The scale was larger than anything that I could remember, and its consequences very familiar; the bombed homes, the displaced families, the tank-track torn olive and citrus groves, the stunned relatives of the dead, the funeral dirges, the Hamas marches, the victory songs, the numbing buzz of the pilot-less drones overhead, the children scavenging amongst ruins, the sirens of the ambulances, the men on donkey carts carrying debris to nowhere, and that constant, distant human wail of a life torn apart or a hope torn asunder. Here I was again, but I had been here before and seen it before. The scenes I witnessed were remarkably similar to those I had seen during my time in Gaza between 2003 and 2006. As some of the world’s best photojournalists scrambled all around me to capture the devastation for the world’s audience, I found that I still had nothing new to say and by the second day I put away my cameras and stopped taking pictures.

And then I met Ismail Ibrahim Abu Eida.

He was walking alone near the rubble of his family home lost in thought. When he noticed me standing close by he merely nodded and said nothing. I stood there looking at him stumble and trip across the pile of rubble that had once been his home. A lone figure amongst thousands of lonely figures all over Gaza who were at that very moment quietly, resignedly stumbling and tripping across the rubble of their own lives. I wanted to talk to him about what was going through his mind, but he seemed reluctant, even a little embarrassed. “What will I tell you that others have not?”, he said quietly. And he was right.

Abu Eida’s pain – the loss of his life’s work, the displacement of his family, and the ruination of his livelihood, was an oft repeated occurrence in this land. Tens of thousands had already suffered it, and it was certain, given the entrenched ideas and ideals that perpetuate this conflict, that tens of thousands more are destined to do so in the future. In this land of pain, where everyone has experienced the gravest of loss, it has become difficult to express individual suffering or ask for compassion. In a life that must accept as normal the sudden and violent erasure of all that one holds dear, a life in which you console your neighbor knowing full well that someday they will be consoling you, you no longer speak about your own sorrows. You no longer share your burden because others are so crushed under their own. In a life of collective punishment your scars and sufferings are starkly your own to confront and tolerate.

Abu Eida was fortunate. No one had died. His family had been displaced to a UN refugee center, and he was sleeping on a mattress in a cargo container on the family property. With a voice that was severely controlled, he explained to me how tanks and bulldozers had forced him to flee and leveled everything he had built over the course of his life, including his family’s orange groves. Then he invited me for tea. He had only one cup. Ten minutes of digging in the rubble produced a second—broken but usable. He had no place for me to sit but a shout to a friend down the road produced a three-legged plastic chair. I protested this kindness, but he wouldn’t hear of it, reminding me that I was his guest. “It is our way, Mr. Rafiqui,” he insisted, as he made himself comfortable in the dirt, “to honor our guests— and to remind ourselves of the things within us which cannot be destroyed by tanks and missiles.”

As the day grew hotter, the mist that shrouded the citrus groves lifted, revealing what had once been the Jabaliya industrial zone. Ismail pointed toward Israel. I could see a wire fence and the silhouettes of soldiers walking along it. Israeli farmers had begun returning to their fields that morning as jeeps carrying soldiers raced back and forth along the border areas. Snipers kept an eye on the few Palestinians who dared to return to their lands. Despite the cease-fire, Gazan farmers were being shot and killed at random. “I used to work in Israel,” Ismail said. “But that was a different time, a different world.”

This world, the one whose remains surrounded us that morning, now lay in a shroud of dust raised by the hundreds of hands salvaging valuables from the remains of their homes, factories, stores, and farmlands. As I looked up from my cup of tea and out towards the scarred landscape I could see people sifting through rubble, searching for bodies, salvaging remains of machinery, consoling their children, or just sitting amongst the ruins of their homes. It struck me that indeed how fortunate were the dead who had at least, as Plato said, seen the end of war. The living however go on and suffer its horrors, carry it’s burdens, tolerate its indignities, appease its sorrows, and accept its cruelest gift – the death of loved ones.

Later that morning I finally made my first photograph – a family searching for the remains of a patriarch. The bulldozer roared and clawed mercilessly against the pile of ruins, churning up metal, concrete, electrical wiring, toys, clothing and whatever else its massive jaws caught in their broad sweeps. Around it sat many family members and friends, patiently watching the bulldozer work, prepared for the moment the body is discovered. “How do you know if someone is still trapped in there?” I asked. “You can smell it!”, came a slightly exasperated reply. There were no camera crews at the site, no photojournalists waiting to capture the moment. It was just one body, one individual, being searched for. The ‘hot’ news stories were elsewhere that morning and will be elsewhere the day after.

But these searches, these sorrows, and the days without those who were once so close, so needed, will go on. As I stood on a small hill and watch the bulldozer tear away at the collapsed walls of the house I was struck with the realization that even when the world’s attention falls on them, the Gazans are most distant, misunderstood and isolated from us. The world comes to them asking them to be either the hate-filled militant out to destroy Israel or the innocent victims of Israel’s fanaticism. And in the process it denudes them of their ordinariness, frailty and flawed humanity. In its attentions the world ghettoizes them, refusing them their history, politics, memories and agendas. Gone are their love affairs, their family feuds, their fears and hopes for their children’s futures, their infidelities, their ambitions, their material desires, their days on the beach, their care for their elderly, their gentleness towards strangers, their love of food, their eye for the perfect coffee bean, their undying and near familial love of the olive tree and their sense of connectedness with the land.

This land called Gaza – a love and a curse.

Photographer’s Note: This essay was submitted to a Swedish magazine that eventually considered it too uninteresting for publication. It was also the essay I submitted recently to a grant committee to continue my work in Gaza. I did not receive the grant. I share it here despite its seemingly sorry record, as perhaps nothing more than a way to allow the thoughts I put down here to escape from the confinement of my hopes and disappointments.

1: Said, E & Mohr, J (1999) After The Last Sky Columbia University Press, New York, New York

2: Barsamian, D, (2000) Eqbal Ahmed: Confronting Empire South End Press, Cambridge, Massachusetts

3: Makdisi, S (19/6/2009) A Language That Absolves Israel, Los Angeles Times, Los Angeles, USA.

Paris Photo 2009:Be There For If You Are Not There…Er…You Are Not There!

In Photography, The Daily Discussion on October 20, 2009 at 11:57 am
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Rio, Sans titre, 2008 © Mohamed Bourouissa, Courtesy Galerie Les filles du calvaire Paris/Bruxelles

Paris Photo, possibly one of the more important photography art fairs of the year, begins in Paris at the Carrousel du Louvre on November 18th 2009. This year’s focus is on what they claim to be ‘Arab‘ and ‘Iranian‘ photography. As always, I place such classifications in brackets because they, in our modern world of forced and chosen exiles, say little or nothing about the artists and their work.

Lens Culture magazine has an extensive slide show of some of the works featured.

On Magic, Miracles And Photography Or Uncertainty And Creativity, Another Look

In Photography on October 13, 2009 at 8:49 pm

A small post some weeks ago provoked a series of diatribes and a healthy round of insults directed at me across the internet. Titled Why I Shoot Film And Why You Should Give A Damn it reflected the results of a very personal examination of my preference for shooting with film cameras, though I admitted that as a professional I must and do frequently use digital cameras for client work.

Paolo Roversi is a fashion photographer. His images lovingly tactile and in some cases surprisingly human.

I found him echoing some similar sentiments about the connection between uncertainty and creativity to what I had spoken about in my post, though he is far more eloquent and more stylish in his presence and delivery.

You can listen to it here, thanks to A Photo Editor

Staying Faithful To The Totality Of Experience Or New Frontiers In Photography

In Journalism, Musings On Confusions, Photography on October 3, 2009 at 10:02 am

It is something that those of you reading my posts will by now recognize I hold very dear; the absolute and crucial need for a new generation of story tellers to reach past the conventions, cliches and crass generalizations about ‘the other’ that have so informed and influenced a whole generation of photographers, photojournalists, writers and editors.

Some of these are so familiar, so obvious, that they have become truths in and of themselves and no longer require questioning or examination; The hijab as oppression, the refugee as victim, the Muslim maulvi as fundamentalist, the Jewish settler as fanatic, the drug addict as lost, the African as violent and so on and so forth. Our challenge remains to cut past the obvious and to allow ourselves to explore spaces, lives and circumstances with humility and a genuine recognition of the humanity, history and individual agency of our subjects.

I am reminded of a wonderful essay by the Kenyan writer Binyavanga Wainain that appeared some years ago in the British literary magazine Granta. Title How To Write About Africa., it was an acerbic, at times tongue-in-cheek, poke at the conventions that shackled ‘Western’* writing about Africa. I quote a small piece:

“In your text, treat Africa as if it were one country. It is hot and dusty with rolling grasslands and huge herds of animals and tall, thin people who are starving. Or it is hot and steamy with very short people who eat primates. Don’t get bogged down with precise descriptions. Africa is big: fifty-four countries, 900 million people who are too busy starving and dying and warring and emigrating to read your book. The continent is full of deserts, jungles, highlands, savannahs and many other things, but your reader doesn’t care about all that, so keep your descriptions romantic and evocative and unparticular.”

I highly recommend reading the entire piece. As an exercise, try doing it without laughing.

James Gibbons, in a recent review of books from Africa and about Africa, points out that:

Wainaina’s essay is more than an acerbic takedown of lazy and half-informed Western perceptions. Embedded within it is a manifesto of sorts. If we turn inside out the sardonic rules and prohibitions, a vision of African literature emerges that departs from the dark-continent fantasies still entertained even by sophisticates in Europe and North America…In one sense, this is a call to normalize African writing, to make its human scale comparable to that of literature set elsewhere…The dilemma for imaginative writers lies in staying faithful to the totality of their experiences while shunning images that simply confirm … biases. The sporadic media coverage of Africa runs a familiar gamut, broadcasting a continent in perpetual—and, it is implied, essential—peril. The challenge of African writing is to provide some new news.

I love that phrase staying faithful to the totality of their experience and what it implies for the new possibilities opened up to a new generation of photographers and journalists. It was very much what Edward Said challenged us to do with it came to things Islamic and Muslim in his work Covering Islam: How The Media and the Experts Determine How We See The Rest Of The World. And for that matter, even Amartya Sen in a work already on our recommended reading list The Argumentative Indian: Writings on Indian History, Culture and Identity where he takes typical ‘Western’ assumptions and generalizations about India, her heritage and her people to task.

At the 2008 World Press Photo awards Stephen Mayes, managing editor at the VII photo agency and a WPP judge, pointed out that too many photographers were chasing the same too few stories. That too much of the world’s experiences were being ignored as photographers attempted to find formulas for success and recognition that increasingly seemed to hinge around shooting the same stuff as that which may have already been published or recognized.

This seems even more egregious if not outright irresponsible when the formulas for producing new and interesting stories has already been offered to us. We just need to consider it, absorb it and act on it.

* ‘Western’ here does not refer to a physical land, area or people, but more a metaphor of a certain world view and presumptions about the conditions of man, the relationships between nations, and the role of the ‘haves’ towards the ‘have nots’ etc.

Student Work: Brittany Sloan / The Aftermath/EXPOSURE Workshop, Ajmer India 2009

In Photography, Photography Workshop on September 26, 2009 at 7:00 am

The story was just not coming together. It had sounded very strong when we had been researching it – an examination of the economic and social communities that emerged around an important Sufi shrine, and what this meant for the creation of a tolerant and pluralistic culture. But the pictures that Brittany was bringing back in the first week were too literal, too obvious and lacked a connecting theme. They were a literal documentation of the economic and spiritual world that existed around the dargah of Gharib Nawaz Moinuddin Chisti. And we knew that we were looking for, hoping for, something more than the literal. But it has to be admitted that both Sara and I were initially unable to articulate what this ’something more’ would be. I at least had hoped that Brittany would just discover it once she was out working. But for at least the first week it did not seem to offer itself and the frustration and concern on Brittany’s face only grew.

She kept going out to make pictures, and kept cornering us to look at what she had found. Brittany was perhaps the most determined to find this ’something more’ we had been talking about. She spent hours pouring over her day’s take, discussing and arguing and challenging. We would look at each individual image and try to understand what was working and what was not. We talked for hours. And it was in one of these determined sessions that she would initiate that we had our breakthrough.

Brittany had become interested in the flower vendors that surrounded the dargah and realized that they would be an important element of her story. She made friends with local vendors and spent a lot of time around their warehouses and storefronts. She was determined that they were the relevant ‘economic’ element of her story. It was while discussing this with Sara Terry that they hit on the idea that the flower was in fact the story! It was that binding element that tied the whole story together, and that offered a unique way to speak about Ajmer, the culture of tolerance and pluralism around the shrine, and the economic realities that helped tie it all together! They both turned to me and said what I thought. I think I said “Hallelujah!”

Here are a few samples from Brittany’s Aftermath/EXPOSURE workshop story called The Rose of Ajmer:

Copyright Brittany Sloan

Copyright Brittany Sloan

Copyright Brittany Sloan

Copyright Brittany Sloan

Copyright Brittany Sloan

Copyright Brittany Sloan

Copyright Brittany Sloan

Copyright Brittany Sloan

Copyright Brittany Sloan

Copyright Brittany Sloan

Student Work: Jessica Bidgood / The Aftermath/EXPOSURE Workshop, Ajmer India 2009

In Photography, Photography Workshop on September 22, 2009 at 10:51 am

Her’s was a very personal walk. Each day Jessica would take a rickshaw to Ajmer’s Delhi gate, negotiate her way through the narrow alleys around the Gharib Nawaz dargah – clogged each day with tens of thousands of pilgrims anxious to enter what is quite possibly the most important pilgrimage center in South Asia for people of all faiths, and begin the slow near two kilometer trudge uphill to the shanties on the hills where the community of illegal Bangladeshis lived.

Each day she would enter a neighborhood that, though initially welcoming, had become increasingly concerned about her presence there. Harassed by the police, pursued by exploitative journalists and wary of ‘welfare’ workers out to make a quick buck, the community of Bangladeshis had learned to live with suspicion and doubt. A foreign woman photographer arriving at their doorsteps each day was a source of unwanted attention. They wanted her to complete her work quickly and leave. Like all the other photographers from the local newspapers did. But Jessica was there to tell a different story, and to produce a different work. So she kept coming back, kept negotiating her way in.

Her research had revealed that the issue of illegal immigrants was a hot political topic, but few had really bothered to investigate the actual lived lives of the people and the struggles and aspirations that kept them together as a community and their dignity as human beings. So Jessica kept going back to the shanties, and kept exploring. And each day she kept coming back with some remarkably personal and gentle images of a people long denigrated and dehumanized in India’s charged political climate. What amazed me was that her process was genuinely exploratory; a look at her digital files revealed a photographer relentlessly working a situation, missing her marks, but staying the course and then capturing a wonderfully evocative and intelligent frame. A real photographer’s process.

Here are a few samples from Jessica’s Aftermath/EXPOSURE workshop story:

Copyright Jessica Bidgood

Copyright Jessica Bidgood

Copyright Jessica Bidgood

Copyright Jessica Bidgood

Copyright Jessica Bidgood

Copyright Jessica Bidgood

Copyright Jessica Bidgood

Copyright Jessica Bidgood

Copyright Jessica Bidgood

Copyright Jessica Bidgood

Why I Shoot Film And Why You Should Give A Damn!

In Photography on September 20, 2009 at 6:42 pm

“Creativity requires the courage to let go of certainties.” – Erich Fromm

Do you prefer to shoot digital or film? – Many have tried to answer this question, and yet I find that I remain unconvinced by most all the answers. Repeatedly, a number of well known photographers shooting on film seem to struggle to offer a simple, clear answer to this question. Most just give up.

A couple of years ago it was a ‘you are with us, or you are with the terrorists’ type of question – the answer could be one or the other, and intelligence, consideration, insight and commonsense had no place in the dialogue. Today, with digital more mature and brilliant as ever, it actually becomes a harder question to answer. Again and again I see studies and research articles reminding me that digital resolution, detail, etc. are far superior to anything film can offer. Having lost all the technological arguments, many resort to rather weak arguments that revolve around rather inane and desperate statements like ‘I like holding film’, or ‘I like to have something tangible in front of me’ or other such nonsense. A losing battle really with none really being able to defend this ‘dying’ space.

I am predominantly a film shooter. The entire project on India, The Idea of India, is being shot on Kodak Portra 160NC and 400NC color negative film. Prior to this I have shot magazine assignments on film. I turn to digital only in specific situations where the client’s turnaround time does not allow time for processing, scanning and fixing of film images. But whenever and wherever given the choice I always return to film. I have shot both slide and color negatives, and of course, a lot of b&w. I don’t have the definitive answer, but I do have an answer. I am dismayed that it has not, as far as I know, been articulated before. If I am wrong please do email me a link. I would be happy to have any further backers of my thoughts, trust me!

I prefer to shoot film because it is a more human process, complete with all the frailties, mistakes, fears, worries, concerns, and doubts that define me as a human being. Yes, of course, digital has all the utilitarian advantages (cheaper, faster, quick turn around sharper etc.), but film retains all the creative advantages.

Gandakosa Village, Northern Iraq, The Funeal of Isaac Sheba Slewa. Of the 36 frames on this roll, this was the one which was a result of a timing mistake. It is the only one I have ever used, making the other 'correct' frames appear uninteresting by comparison.

Gandakosa Village, Northern Iraq, The Funeal of Isaac Sheba Slewa. A result of a timing mistake, this image is the only one of the nearly 72 exposures I have ever used. Looking at the contact sheets nearly 2 months after the image was made, my 'correct' exposures failed to impress and this image, made after relentlessly working the situation because I was just never sure if I got what I wanted, became the favorite. Copyright Asim Rafiqui 2005

Film photography remains a slower process, requiring greater concentration and awareness since mistakes cannot be corrected by the time the results are seen. It is also a process filled with doubt, fear and uncertainty. It requires us to confront fear and work to make it something that drives us. The results are unknown, our memory of what has been captured uncertain, and we keep coming back, keep looking, keep exploring and shooting. The doubts drive, define, and push. The fear maintains the issues and subjects on our mind. We lose sleep thinking about the subject, convinced that we shot the roll on the wrong ASA, or other such amateurish mistake. There is no consolation, as Raymond Depardon argued, for the photographer. Nor should there be.

Creativity is a flawed and uncertain process. It requires mistakes, corrections, adjustments. It is driven by the pursuit of an ideal that you don’t even know exists or even matters. But something drives you, as a blind man searching for his sight but not knowing when and where he will find it. Writers, poets and fine artists embrace these uncertainties, channels these fears, thrive on the mistakes and persevere past the failures. I have always wondered why photographers are so afraid of precisely these human instincts and failings, constantly looking for the predictable, the certain, and the promised. Why are we so afraid of what we are?

I shoot film because it gives me more of a chance to be a who I am, complete with all my flaws and doubts. I shoot film because I today embrace my weaknesses and propensities rather than attempt to overcome them with toys. I shoot film because I must reach further into myself, my soul, psyche and sensibility and aspire to that place where someday I too may find something to say and show – something unique, something beautifully flawed and hence in its unique way, something beautifully human.

UPDATE: By coincidence Umberto Eco has penned  a mild lament at the death of hand writing. In his piece The Lost Art of Hand Writing he suggests that “..writing by hand obliges us to compose the phrase mentally before writing it down. Thanks to the resistance of pen and paper, it does make one slow down and think. Many writers, though accustomed to writing on the computer, would sometimes prefer even to impress letters on a clay tablet, just so they could think with greater calm.”

I agree with his point that it may force us to think before committing words to paper but I am not sure I accept the entire argument. Tempting as it may be to find a parallel with my justification for the love of shooting film, I will resist. Writing is less a craft defined by the tools that enable it as photography is. I do agree that we may write different on a computer than on paper, but there are many social, cultural, economic and political reasons for why we may be writing differently today than say 50 years ago. Not the least of which would be the electronic text editor. Photography however is a mechanical craft, and the choice of the tool is not irrelevant to the work the photographer wishes to do, or is limited to do. That is, photography requires us to make a choice of equipment depending on either our goals, vision and/or preferences, or it forces us to limit ourselves to the method most suitable to the device we work with. A photographer and her camera are a relationship, at times economic, at times creative and at times habitual and each influences, limits and defines the kind of work that is produce.

Student Work: Saloni Bhojwani / The Aftermath/EXPOSURE Workshop, Ajmer India 2009

In Photography, Photography Workshop on September 20, 2009 at 9:31 am

Hers was perhaps the subtlest way of working, one that allowed her to quietly, unobtrusively blend into a space and be forgotten. Rarely have I seen a first time shooter with such a knack for becoming inconspicuous so easily and so precisely. While working on a story about the social and cultural divisions created through sectarian education programs that divide societies through its children, Saloni would keep coming back with images that surprised me with their intimacy. And they revealed a real photographer’s sensitivity and eye. And this from a student who had never shot before attending the workshop! Her first contact with an SLR was on the 3rd day of the workshop itself!

She was also perhaps one of the quietest students attending the workshop, rarely saying anything, but always observing. You could see that in the way she scanned a room when she walked in – a quality and skill that obviously served her well on what was a very difficult story to put together. With social tensions running high in the region, and her subjects sensitive to the intrusions of an outsider with a camera, Saloni had to negotiate a careful line while working with the religious schools and the community caught in the middle.

Here are a few samples from Saloni’s Aftermath/EXPOSURE workshop story:

Copyright Saloni Bhojwani

Copyright Saloni Bhojwani

Copyright Saloni Bhojwani

Copyright Saloni Bhojwani

Copyright Saloni Bhojwani

Copyright Saloni Bhojwani

Copyright Saloni Bhojwani

Copyright Saloni Bhojwani

Copyright Saloni Bhojwani

Copyright Saloni Bhojwani

Copyright Saloni Bhojwani

Copyright Saloni Bhojwani

Student Work: Elizabeth Herman / The Aftermath/EXPOSURE Workshop, Ajmer India 2009

In Photography, Photography Workshop on September 19, 2009 at 2:57 pm

It took only a few hours after her arrival in Ajmer for Elizabeth to realize that the story she had hoped to do did not exist. At least not within a reasonable distance from the city itself. Nearly 3 days of telephone calls to local journalists and discussions with other contacts in the city failed to provide a solution. I was concerned. Sara was concerned. I remember even some of the other students were concerned. Interestingly, Elizabeth was unfazed, and I found that rather troubling. She seemed very calm and composed through it all, and was in fact pursuing a quiet strategy – that of accompanying some of the other students to their meetings with local NGO and other institutions and keeping her eyes and ears open to something new. It was on the third day that I ran into an excited Elizabeth who approached me and said I have a story. My doubts were probably written all over my face, but Elizabeth was persistent and described what in fact was an intelligent, complex and fascinating story.

A small village on the outskirts of the city of Ajmer had had a new railway track constructed right through the middle of it. This had not only divided the village from its agricultural lands, but had also created fissures in its social and cultural fabric. The railroad meant that India’s modernity, with its conveniences and deprivations, had arrived right at its doorstep, imposing new values and new dreams amongst a younger generation of villagers more interested in careers, conveniences and the city life. As the elderly looked on, they traditional agricultural way of life now irrelevant, they could see that their village had become a smaller version of the broader changes taking place in today’s India.

Elizabeth had indeed found her story.

Here are a few samples from Elizabeth’s Aftermath/EXPOSURE workshop story:

Copyright Elizabeth Herman

Copyright Elizabeth Herman

Copyright Elizabeth Herman

Copyright Elizabeth Herman

Copyright Elizabeth Herman

Copyright Elizabeth Herman

Copyright Elizabeth Herman

Copyright Elizabeth Herman

Copyright Elizabeth Herman

Copyright Elizabeth Herman

Student Work: Radhika Saraf / The Aftermath/EXPOSURE Workshop, Ajmer India 2009

In Photography, Photography Workshop on September 19, 2009 at 2:41 pm

Her nervousness was palpable; sitting in the corridor late at night I watched her and her fear. For the last three days she had been exploring the lives of the Cheeta-Mewati community in the Beawar region of Rajasthan. A unique community that practiced a syncretic version of Hindu/Islamic spirituality, her project required her to examine the pressures the community had come under from the orthodox – both Hindu and Muslim, organizations that were fighting for their ’spiritual’ souls and attempting to seduce them towards a more purified spiritual place. Radhika Saraf is a first time photographer – a few days earlier I had been teaching her how to handle autofocus, and precisely why the camera meter behaves as it does.

Now, hours away from her first foray into this community, she was scared and I completely understood why. It was a fear that I had felt many times, and still do; the moment when the research, the planning, the imagination, and the ideas, are all set aside and the first step taken to actually enter a space and begin to explore a story. As Radhika, on that night, stood on that threshold of this moment and looked out across a world complex and unpredictable, she began to understand the difficulties of this craft that today is so easily dismissed as ‘dead’, and the tremendous creative and personal courage and clarity needed to begin, and create something out of what initially appears to be merely chaos and randomness.

A few samples from the Aftermath/EXPOSURE workshop follow:

The Cheeta-Mewati, Beawar Rajasthan: Copyright Radhika Saraf

The Cheeta-Mewati, Beawar Rajasthan: Copyright Radhika Saraf

The Cheeta-Mewati, Beawar Rajasthan: Copyright Radhika Saraf

The Cheeta-Mewati, Beawar Rajasthan: Copyright Radhika Saraf

The Cheeta-Mewati, Beawar Rajasthan: Copyright Radhika Saraf

The Cheeta-Mewati, Beawar Rajasthan: Copyright Radhika Saraf

The Cheeta-Mewati, Beawar Rajasthan: Copyright Radhika Saraf

The Cheeta-Mewati, Beawar Rajasthan: Copyright Radhika Saraf

The Cheeta-Mewati, Beawar Rajasthan: Copyright Radhika Saraf

The Cheeta-Mewati, Beawar Rajasthan: Copyright Radhika Saraf

Speaking Of The Obvious Or Profiling Photographers And The Selling Of War

In Journalism, Our Wars, Photography on September 4, 2009 at 6:34 am

A fascinating little piece of reporting from The Stars & Stripes that simply reminds us what this entire US military embedd fiasco is all about. In a piece called Files prove Pentagon is profiling reporters we learn that the US military and the Pentagon profile reporters before allowing them to embed with the military forces. Basically, if you are in, then you have been taken. There are some still running around pretending that their embedded reporting was done with a wide degree of ‘liberty’ and ‘latitude’ and without any specific constraints imposed on them.

Even a recent World Press Photo competition winner has been repeatedly espousing in public forums, rather vehemently and defensively I would argue, the nonsense that he was ‘never told what to shoot’, revealing once and for all the delusions such photographers impose on themselves when they refuse to acknowledge the walls of the prison, while celebrating their ability to move about freely within it.

I have repeatedly spoken out against the US military embed program, much to the dislike of many, some of whom of course have happily participated in this journalistic charade and even gone on to decorate their chests with trinkets received in competitions and such. I wrote about the embed programs recently in a piece called Wrapping Photographers Into The Packaging of War, and in another piece called How We Refused To Embed With Brittany Spears, and in a more acerbic piece called Creating Tempests In A Teapot Or What Else Is A Photoeditor To Do.

I am sure I have written more about it, particularly in my lengthy tirade against modern day photojournalism also available on this blog site. I will spare you the link.

UPDATE: The same newspaper, Stars & Stripes, recently reported that the military has cancelled its contract with the private contracter who was responsible for creating these media profiling and analysis report. In a piece called Military Terminates Rendon Contract writer Kevin Baron quotes a military spokesman Col. Wayne Sharks as saying “The Bagram Regional Contracting Center intends to execute a termination of the Media Analyst contract.”. Later a Rear Adm. Gregory J. Smith is quoted as stating that ““The decision to terminate the Rendon contract was mine and mine alone. As the senior U.S. communicator in Afghanistan, it was clear that the issue of Rendon’s support to US forces in Afghanistan had become a distraction from our main mission.”

Oddly, the quotes only claim to cancel the contracts as they relate to Afghanistan. There is no claim in fact that the US military has canceled its engagement of this firm, Rendon, to carry out its controversial media analysis work. In fact, the article goes on to reveal that Rendon will continue to produce these profiles, and in fact that these reports have been regularly used by the Defense Department and the CIA to provide “…a range of media analysis services beyond just the profiles and was just the latest contract for services it had provided the military for years.  The company has a long history of contracting with the Defense Department and the CIA on controversial media projects.”

So what appears to be a ‘change in policy’ is eventually revealed to in fact not really be that. Or certainly nothing more than a juggling around of ‘responsibility’. The article was confusing and obfuscating and does not attempt to separate between the US Defense Department, various departments of the military forces, the ground operations in Afghanistan, Iraq or elsewhere. It does not make clear what this ‘cancellation’ means, the scope of its impact, the implications for future policy on the handling of embedded journalists. In fact, it just ends by pointing out that this contractor has been working for the Defense Department and will continue to do so!

Did I miss something?


A Quick Update For The Restless Or What The Hell Has He Been Up To?

In Photography, The Daily Discussion on September 1, 2009 at 10:21 am

Once again I find it near impossible to blog while traveling.  Despite my best efforts I have been unable to update this blog with anything substantial.

Much time was taken conducting the Aftermath/EXPOSURE workshop in Ajmer that Sara Terry and I were teaching. I will be posting all of the student work on this site in a few weeks time, so please be patient. Suffice it to say, they produce some remarkable stories and took fabulous photographs.

So much so that at least two of them have been invited to contribute to the ‘The Idea of India’ project website. Britt Sloan and Radhika Saraf, both new photographers, produced some beautiful work that captured India’s remarkable syncretic and pluralist culture in Ajmer.  and I have invited them to submit their images and essays for inclusion on the project website.

They then formally open up the ‘The Idea of India’ project stie to other photographers – I will annouce this more formally when I return to Stockholm in a couple of weeks. The scope of the work now demands that others start to send their stories for inclusion, and help evolve the project site from being just about my journeys in India, to a broader, more comprehensive site for stories and resources about India’s magnificent pluralist and heterodox heritage.

Britt Sloan and Radhika Saraf are students at Tufts, young photographers and sharp, intelligent and passionate individuals. I am very excited about their participation.

I also expect to invite a couple of the other students to the project site as well, but will start with these two.

I am back in Stockholm on the 14th of September.  New posts will once again start to emerge after I land.

Thank you all – all handful of you, for your patience, support and encouragement.

India Diary: August 6th 2009 The Aftermath/Tufts University Photography Workshop Sessions

In Journalism, Photography on August 7, 2009 at 6:41 am

I am back in India to teach a workshop and to continue my work on The Idea of India project.

I, along with The Aftermath Project founder and photographer Sara Terry, am teaching a two week workshop in Ajmer, India to students from Tuft University’s Institute for Global Leadership.

Thanks to a wonderfully imaginative collaboration between the grant program and the school, we will be spending an intense two weeks with nine students exploring stories that speak to issues of cultural and religious pluralism, and social and civil conflict aftermath.

Though the actual workshop will run from August 1oth till August 22nd, the students have already been working on their stories for at least a month now. They started to develop story ideas about four weeks ago and both Sara and I have been working with them to review, revise and approve the ideas. Some of the students have made contacts on the ground and carried out extensive background research on the subjects they are covering and the institutions and individuals they will be working with. Suffice it to say, it has been an intense learning process and we are not even starting until next Monday!

These workshops concentrate on the challenges of researching, structuring, executing and producing narrative documentary stories. They are less about the aesthetics of photography or the mechanics of producing it. Though of course some relevant details will be address. The focus does reflect the priority that both Sara and I place on the need to explore social, economic and political issues from the perspective of individuals and the worlds they occupy. Sara and I have had the privilege of helping students identity stories that relate to issues of cultural and religious pluralism, and stories about those dealing with the aftermath of economic, political, sectarian and other conflicts. We are pushing students to engage with the complex, to shy away from cliche’s about India and about her culture, and to prepare to explore and discover the autonomy and determination of even the most dispossessed and marginalized of her citizens. We are pushing them to see and document real people, in a real country, without prejudice and preconceived simplicities. It will not be an easy two weeks for the students, and for the teachers, that is for sure.

If possible I will try to blog about the progress of the workshop. Perhaps some of you are interested in following the work and sessions and to stay engaged with what we are struggling with and discussing. A lot depends on my internet access and of course time, but I will do my best to update the India Diary in a consistently.

The Palestinian Wedding Or More Studies In Farce & Fanaticism

In Israel/Palestine, Journalism, Our Wars, Photography on August 7, 2009 at 6:09 am
A Wedding At Masara, West Bank Photo By: Oren Ziv/ Activestills.org

A Wedding At Masara, West Bank Photo By: Oren Ziv/ Activestills.org

This post today celebrates a Palestinian wedding thanks to the photography of Israeli activists at Activestills and Haggai Matar who was in fact beaten by Israeli soldiers while participating in this event, as he explains here in this piece called Assault-A Personal Story

And a different union of sorts, where yet another Palestinian family, living in Israeli-occuppied East Jerusalem is united with the long, painful and tragic history of the rest of the Palestinian people.

Update: By the way, this is not some random event; the transformation, or ‘Judaization’ of East Jerusalem is a project financed by many in the USA, including Irving Moskowitz about whose direct involvement in the hideous, and yes, racist, project is well explained in a recent Guardian piece called Irving Moskowitz’s Bingo Madness by the wonderfully clear headed Richard Silverstein who also rights a fabulous blog about all things Israeli and its associated illigal occupation driven pathologies, obfuscations, lies, and brutalities called Tikun Olam – which means  ‘healing the world’ in Hebrew.

There is an odd silence amongst the world’s finest photojournalists when it comes to the West Bank and Gaza. Few if any of the self-proclaimed best-in-the-business are anywhere near the determination, courage, dignity and civility of the Palestinian struggle to overcome the Israeli occupation juggernaut. Quick to rush to cover ’spotlight’ events – those making it to the front pages of the daily press and the prime-time TV news broadcast, their cameras are silent about situations that actually require the strength of their voices and the power of their images. Citizen documentation of the situation in the West Bank and Gaza in fact towers over anything that is being produced, or has been produced, by the professionals.

There is a growing and extensive archive of photographic and video documentation of the brutality, inhumanity, and infantile banality of the Israeli occupation and the horrors and humiliations inflicted on an unarmed and defenseless civilian population of the West Bank and Gaza. And its all being shot by amateurs! And when you compare it to the simplistic works being produced by the professionals, you get a sense that the professionals are simply afraid to confront the realities – with all its humiliations and brutalities, of the occupation itself!

But I digress.

Lets celebrate today, a Palestinian wedding!

Fear The Pushtun Bogeyman Or Scaring Children As An Imperialist Habit

In Journalism, Our Wars, Photography on July 28, 2009 at 9:29 am

Juan Cole is the Richard P. Mitchell Professor of History at the University of Michigan.

He is the author of Engaging the Muslim World. He has a regular column at Salon.com. and writes the Informed Comment blog.

He has now written what I think is the first piece that connects modern day American imperialist paranoia in Afghanistan to 19th century British imperialist paranoia in Afghanistan. In a piece called Armageddon On Top Of The World: Not! he reminds us that:

What most observers don’t realize is that the doomsday rhetoric about this region at the top of the world is hardly new. It’s at least 100 years old. During their campaigns in the northwest in the late nineteenth and early twentieth centuries, British officers, journalists and editorialists sounded much like American strategists, analysts, and pundits of the present moment. They construed the Pashtun tribesmen who inhabited Waziristan as the new Normans, a dire menace to London that threatened to overturn the British Empire.

He goes on to remind us that:

In fact, few intelligence predictions could have less chance of coming true. In the 2008 parliamentary election, the Pakistani public voted in centrist parties, some of them secular, virtually ignoring the Muslim fundamentalist parties. Today in Pakistan, there are about 24 million Pashtuns, a linguistic ethnic group that speaks Pashto. Another 13 million live across the British-drawn “Durand Line,” the border — mostly unacknowledged by Pashtuns — between Pakistan and southern Afghanistan. Most Taliban derive from this group, but the vast majority of Pashtuns are not Taliban and do not much care for the Muslim radicals.

Lets repeat that statement once again: Most Pushtuns are not ‘Taliban’ nor ‘Islamic Radicals’. That there are fringe lunatics with guns and an overbloated rhetoric of armegeddon that is given undue and unjustified attention by scabarous and weak minded journalists and photographers is a crucial issue we prefer not to discuss.

It would be the equivalent of an Al Jazeera reporter insisting on covering the USA only from the eyes and from the hot-air rhetoric of militia groups in montana and nebraska, or the lunatic-fringe christian evangelical congregations in Florida!

The fact remains that bandying about the bogeyman makes for easy journalism, easy photography and easy sales. Fear sells. We know this well. The unfortunately an entire people, the Pushtuns, have been demonized, humiliatated, murdered, displaced and criminalized.

820752

Mir Abbas Khan returns to his home destroyed by Pakistani Army bulldozers and helicopter gunfire. Near Kalooshah, South Waziristan

In 2004 I was in Waziristan, and spent a month there with the tribes that were being lassoed into Pakistan’s desperate attempts to appease the American war-gods. The story eventually appeared in print in Mother Jones magazine. Titled Frontier Justice its most prescient part was the conclusion that writer Malcolm Garcia wrote – based on an interview I had done inside Waziristan:

Consider … Mir Abbas Khan, in the photo on the opposite page. Look at his eyes, his ruined home, and back to his eyes—full of fear and hurt, but mostly rage.

Indeed, consider Mir Abbas Khan’s face and his eyes….and his rage. An innocent Waziri, Ahmedzai tribesman whose entire life was torn to shreds because he happened to be in the path of American and Pakistan military power games. This is in 2004 and Malcom and I argued back then – an argument that got me in trouble with Homeland Security the one time they picked me up at Miami Airport for a 3 hour intense questioning, that it is inhuman, immoral, illegal and a clear violation of their human rights and rights to justice to kill them with impunity and from thousands of feet in the air.

The Pushtuns are not ‘a tribe’, or ‘a mass’, they are individuals and these individuals, their lives, their families are what we are crushing and killing in the blood-laden fields of South Afghanistan and the tribal areas of Pakistan. We have made animals out of them, reducing them to mere objects that we kills, see in the distance and attempt to blow away. Our embedded photographers continue this trend, showing the Pushtuns as alien to us, distant from our humanity, their passions, emotions, sufferings, and humiliations unknown and unfelt by us.

“Asim”, his eyes looked at me pleading, ‘”is it not possible for you to imagine that we too can act only because we are human?”, I was with Waziri madrassa students in Peshawar in 2008, as they were trying to explain to me how life for them and their families had become a living hell since 2003 as the Afghan conflict began to spill over.”Sometimes we too, knowing that it is against our laws, our beliefs and our Koran, act because we are just human beings!”. His face tightened as if about to implode “I want to kill because I may have seen my brothers body parts torn all over a room – I want to kill not because I am a fanatic, but becuase I am a brother” He looked at ‘Is that no possible for us?” I had no answer for him. We sat there in the silence, a dark madrassa dorm room, about 20 other students sitting around me, and just thought about what we had just heard.

We are precipitating a genocidal campaign against an entire people because we can’t be bothered to see them as human beings.

This war, which perhaps we once tolerated and remained quiet about, has lost its mooring, and we have lost our moral compass.  It, like Iraq, is a dishonorable war, that is being fought dishonorably and will bring nothing but dishonor to those who plan it and fight it.

Open See – Another Jim Goldberg Scream

In Photography on July 27, 2009 at 9:27 am
Open See: Jim Goldberg

Open See: Jim Goldberg

I love Jim Goldberg’s work. His new book is fabulous and best of all, complicated. Jim continues to employ his seemingly random photographic methods using all sorts of different formats, borrowed images and even scratching and writing on the photographs themselves.

Open See:Jim Goldberg

Open See:Jim Goldberg

I have noticed a lot more photographers doing this – I even remember one well known photographer working on his prints on the terrace of the Hotel Pams during Visa Pour L’image, painting away on the prints with blood mixed in water. There, on the terrace, in full view of a curious public, it appeared an artifice. But I digress.

Jim’s work is informed by a far stronger, determined and clear vision. He is again a photographer whose technique and method I may not want to emulate, but I respect and admire them for what they produce. He remains one of those rare photographers where the whole is far more than the sum of the parts. You can see samples of the book’s images on the Magnum website, but it is obvious that it is the book that you want to possess and not merely glance at the images.

Many may not, some may not remember, but one of the pioneers of the ‘touched’ photograph was a the American photographer by the name of Peter Beard. Beard did a lot of commercial work, even a cheesy calender shoot for Pirelli tyres, but he always did it in his own way. Less his commercial efforts, I found his more personal works far more compelling and exciting, particularly because of the incredibly complex, free wheeling and intriguing scribbles and sketches that covered the images.

Peter Beard: Hippo And The Hand 1955/2006

Peter Beard: Hippo And The Hand 1955/2006

I believe I read an interview with him where he argued that the image is incomplete until and unless the photographer has worked on it. This comment reflects an old fashioned idea of the need for the human touch and frailty on what is otherwise a purely mechanical product. Perhaps Beard did not value this instinctive, creative side enough and felt the need to push the works even further. Or that the spectrum of his creativity extended itself beyond the framing of the image and to the final image which appeared in his mind as he captured the negatives. It is however a process that produces unique objects, much like Jim Goldberg’s work which appears to continue this very practice of the ‘worked on’ image.

Wrapping Photographers Into The Packaging of War

In Journalism, Our Wars, Photography, The Daily Discussion on July 20, 2009 at 12:17 pm

They took the New York Times on a war tour. The Battle For Pakistan it was called when the magazine finally published the photographs their boys had so carefully constructed and bought back. They had all the elements that would suggest valor, fear, desperate battles, the struggle of ‘a state’ against an unseen but clearly fearsome enemy. Though to my eye it appeared to be a lot of pictures of Pakistani soldiers ‘posing’ – the kinds of pictures I know these soldiers often pose for whenever I have had to photograph them. They know the routine – it is a veritable war zone cat walk, Pakistan’s Next Top Soldier! There are ‘buckets’ of IEDs, emptied villages, men behind bars wearing their self incriminating, evidence acceptable in our modern courts of war, skull caps and beards. The Battle For Pakistan, a nation of 170 million, with a cultural and ethnic diversity that baffles most, was apparently being fought against a few hundred men with outdated guns and plastic buckets IEDs!

They also took CNN on one, all expenses paid, luxury jaunt around the Swat ‘war zone’. Their reporter, breathless and in awe of his actually being inside this valley. Pakistan military confronts Taliban in key Swat city is a breathless regurgitation of the voice of the Army, the reporter not even attempting to ask any hard questions. Dressed in the requisite ‘toy soldier’ garb of multi-pocket pants and manly watch, it appears that he is attempting more to celebrate his presence in a ‘hard’ zone than actually doing any reporting. The soldiers languish in the background, looking bored and at ease. Some questioned are raised – but none that would break the ’spell’ of this great war. Kills are celebrated by some army spokesperson who i am sure off camera is caring father, husband, lover or son.Everything that the dead lying around the valley of Swat are not. A collection of random weapons – most look like they were from the early 20th century are laid out on tables, and some men – less than 5 are paraded in front of the journalists. Who are these men? What is their story? What are their crimes? What are their rights? We do not ask – they are ‘Taliban’ says someone and that is enough. The war looks like it is going well.

What should have been no more than a police action 2 years ago, is now being sold as Pakistan’s great war to protect America! A see-how-we-love you performance piece funded by American dollars and fueled by Pakistani greed.

What has happened in Swat remains largely unknown. The media has been blocked from entering. Refugees streaming out of the region – expelled in fact because they were ordered to leave or feared random slaughter from the Army, speak about there being no war in the valley, and the killing of innocents who are then paraded as ‘Taliban’ fighters.

We will also not know what has happened in Swat because few if any of the foreign journalists working on covering the region have any idea or interest in the social, economic, and political history of the area. These people have no stories. Pakistan is largely covered by journalists who are ill equipped to report on it. They do not speak any of its languages, they have little or no knowledge of its history, they do not understand its ethnic groups, their histories, or even the fundamental political history of the nation since its creation, and definitely not prior to its separation from India. They know little or nothing, other than what they need to know looking down through the telescope of the ‘war against terror’.

Slugging around a few cliches’ mostly picked up in elite living rooms in Islamabad, they venture out in righteous conviction that this is a war against the ‘Taliban’ – a word that today incorporates pretty much any entity we wish to place inside it and hence has no meaning at all! And yet, we are at war against this abstraction, quite like our war against ‘terror’ and that other one against ‘drugs’. In theaters soon – the war against ‘angst’!

The people of Swat, much like the people of Waziristan, or Mohmand, or Bajaur, or Mardan or any other ‘conflict’have no history, no political-economy, no agency, no connections to the wider nation, no memory, no emotions, no love or longings, and no human capacity for creating culture, life, society and values. They are just dead bodies, ‘Taliban’, refugees, that scuttle around as we need them.

I suppose some of them are being ‘professional’ i.e. ‘do your job and shut up!’. It means never asking the editors any questions, returning to challenge assumptions, attempting to offer insights based on their experience, working to alter the ‘angles’ being created in towers in Manhattan. You give them the pictures they want, and the best of them are extremely good at it.

I have to believe however that these photographers are smarter than their works suggest. They have to be. I have to believe that they are just subsuming their intelligence to deliver to the demands of what today are clearly even more exalted jobs; paid positions or contract positions with major magazines whose budgets can only hold a few.

I am reminded of something that Paolo Pellegrin admitted to after his coverage of the evacuation of the settlers from Gaza. His statement revealed a large gap between the theatricality and emotions that were created in the images – a necessity to support the master narrative of that ‘pull out’. That is, the wrenching decision that Israel had to make and the incredible concessions she was prepared to offer, and the suffering she was prepared to inflict on her own citizens, for the sake of ‘peace’ with the Palestinians. The photographs repeatedly show determined, pious, righteous, resisting settlers as Israeli police ‘fight’ to evict them from their homes. The world watch with a mixture of pity and awe and the photographers delivered the images that captured these scenes. Many went on to win major photo awards that also showed the ‘innocent’ settlers even single handedly resisting the determination of the Israeli forces. A heroic strugle, a heroic people, a grand national sacrifice, a nation torn, a people wounded, families destroyed, lives interuppted, all for peace.

And yet, while narrating his work, Paolo offered this incredible insight on his Magnum In Motion piece about the Gaza evacuations called The Evacuation – you can hear his words by clicking on Image #18 that shows Israeli police dragging a settler onto a waiting bus:

This obviously actually happened, and these [the images] are documents of real moments. But you felt that it was also a theater. The event was at some level orchestrated and in some cases the arrangement that was made was that the settlers in a particular community or settlement decided that they could not walk away from the settlement on their own feet because that was not the way that they wanted to leave. So they decided [that] they were going to be dragged away. That it was a decision. And that was an element in this story, the fact that obviously this was happening, but at the same time it was also the result of two parts (parties?) coming together and each with their own agenda.

There is a gap, between the intelligence and awareness of the photographer, and the photographs he returns with to fulfil the story he has been asked to deliver. Even the Magnum In Motion piece maintains the emotional and pathos atmosphere of the piece, at no time allowing any suggestion that this entire event or certainly major portions of it was also political theater. The piece ends with the heroic and lament ridden music of the Israeli national anthem the Hatikva - a shockingly poor choice given that the settlers were being pulled out from occupied territories! The designers of the piece remain true to the story that is being packaged, the emotions that are being sold, the angle that is accepted, agreed to and acceptable to the world. And certainly not be coincidence, the angle that the Israeli government, its think tanks, lobbyists and pundits defined for us.

Photojournalism and photography too easily depoliticizes what it documents, elevating the visible act that is otherwise mired in various forces outside of the photograph, to being seen as ‘complete’ and ‘true’ in and of itself.

The photographer’s mind and body can sense that he is part of something more than just ‘real’ events, that he has become part of a performance, and within that performance, complete with its pathos and sorrow, he has to continue to work and shoot the ‘right’ angles, the right emotions, the right ‘feel’ so as to not ruin the whole thing for the rest of the audience – the editors, the readers in the papers the following morning. Besides Paolo, who obviously realized that he was playing a part in a script that someone else had written for him, there were hundreds of other photographers. The same hundreds by the way that are repeatedly prevented from access to Gaza, or Jenin or any number of other sites in the occupied territories.

When They take us somewhere, we should ask ourselves why!

Which is precisely what the embedded journalists now touring the ‘war’ zone with the Pakistani army ought to be doing. Why are they being taken? Where are they being taken? Why now and not before or after? A modicum of skepticism would be useful even when producing what are clearly ‘filler’ mutli-media pieces to feed the ravenous hunger of the 24-7, multi-channel needs of our the business of modern news.

Kamran Asdar Ali,  acting director of the South Asia Institute and associate professor of anthropology at the University of Texas-Austin, has written a valuable piece called Pakistan’s Troubled “Paradise on Earth” in the Middle East Research & Information Project (MERIP). He points out again that:

The Taliban have plainly appealed to smoldering anti-feudal resentments in the Swat valley in recruiting their cadre. A handful of families own the fruit orchards and cow pastures that are the main sources of livelihood in the valley, and their agreements with tenant farmers are often honored in the breach. Wages for rural labor are low. The large landlords (khans) are also likely to hold the concessions for the timber forests and the contracts to operate the gemstone mines that also employ the working class of Swat. “Paradise on earth” or not, the Swat valley has seen a large percentage of its able-bodied men out-migrate since the 1950s.

Until 1969, Swat was run as a princely state under an autocratic wali, in a continuation of the administrative structure set up under the British. Though he is remembered as benevolent and forward-looking in his social policies, the wali held a complete monopoly over taxation and the exploitation of natural and mineral resources. Revenue collection rights were given to elites and every household was taxed at a high rate to fill the state’s coffers. The princely state had its own laws and also the privilege of raising an army; indeed, the wali had a personal guard, a cavalry unit and heavy artillery. The Taliban’s desire for autonomy has a precedent.

When I met with Maulana Fazalullah in early 2008 he was considered a ‘dangerous’ man. While the army patrolled the highways and mountain tops attempting to control the so-called Taliban, I was able to walk in to Maulana Fazalullah’s compound at the Imam Dehri center and sit down with him for tea. We spent a couple of hours during which he insistently talked about the corruption and brutalization of the people of the valley of Swat. The men sitting around him echoed his stories with those of their own; the corruption and venality of the police, the exploitation of their forests and water ways, the destruction of their way of life and values at the hands of property speculators and hotel owners, the continued struggle to find a decent life under the boots of the feudasl who decided everything on a whim. Fazalullah never spoke about the Americans, Afghanistan, the ‘war against terror’ or such. He just spoke about Swat, about the areas near and around his village. As we sat there nearly 400 volunteers from villages all over the valley had come down to help construct his new madrassa. They had bought their own food and supplies and were working 24 hours a day to construct the center. And money as well. The army sat on the mountaintops and watched. I am sure they could see that dozens of armed men milling about the compound as well. But it was the highways that they wanted to patrol, the local people they wanted to harass, and the foreign photographers they wanted to take to their ‘posts’ and ‘command centers’.

It does not take a lot of intelligence to see that you are part of a game whose rules are being defined beyond the headlines and journalist pieces.

Ali Eteraz wrote a fascinating piece about the Islamization of Pakistan’s constitution under the direction of Zulfiwar Ali Bhutto. He describes in a piece called Pakistan Is Already An Islamic State, that foreign media’s penchant to see everything in Pakistan exclusively through the distorting prism of ‘the war against terror’:

…these views, rooted in the “war on terror” frame of thinking, diagnose Pakistan’s relationship with Islam incorrectly. The real issue in Pakistan is not that from time to time a group of militants, while demanding the implementation of sharia, begins attacking civilians. This, while deplorable and painful, is a consequence of Pakistan’s constitution. The essential problem in Pakistan is its flawed constitutional framework, which forces every citizen to refer to their idiosyncratic and personal views on life through the lens of “Islam.” Such a state of affairs has the effect of concealing every political, material and economic demand behind theological verbiage, and that situation ultimately favors religious hard-liners and militants who are willing to use violence.

Further pointing out that:

Most people in the world, including some Pakistanis, live under the illusion that the country is secular and just happens to have been overrun by extremists. This is false. Pakistan became an Islamic state in 1973 when the new constitution made Islam the state religion. Under the earlier 1956 constitution Islam had been merely the “official” religion. Nineteen-seventy-three, in other words, represents Pakistan’s “Iran moment“—when the government made itself beholden to religious law. Most western observers missed the radical change because the leader of Pakistan at the time was Zulfikar Ali Bhutto, a whiskey-drinking, pseudo-socialist from a Westernized family. Those that did notice the transformation ignored it because the country was reeling from a massive military defeat in 1971, which led to half the nation becoming Bangladesh.

And that this had devastating consequences for how the people of the country had to use Islamic idioms to demand even the most essential and basics of needs from a government now drowning under the Islamization programs of the self-styled prophet General Zia-Ul-Haq. Even Nawaz Sharif, now desperately attempting to pull on democratic underpants, once attempted to draw up legislation that would have him titled Amir-Ul-Momineen – The Great Leader Of The Believers. Pakistanis do have a wonderful penchant for shallow grandiosity and empty bombast!

And finally, Tariq Ali has recently written a Diary for London Review of Books piece that reminds us of the venality and corruption that is Asif Ali Zardari, and the pathetic state of a nation that is increasingly convinced that in fact it was he who simply murdered his wife, the highly popular, democratic myth known as Benazir Bhutto!

Of course these nuances, particularly those raised by Ali Eteraz and Asdar Ali are difficult to catch in our morning internet read. Pakistan does not really exist, other than as a pawn in a chess game being played in Washington D.C. The people dying on the frontiers of Afghanistan are not real people. President Obama was shedding tears for the killed Iranian activist Neda the same day that his drones slaughtered 60 people in the tribal areas. The cynical exploitation of ‘human concern’ in one instant, and the callous, calculated, inhuman, purely barbaric and cannibalistic indifference to the erasure of another speaks poorly of the popular belief that modernity and morality go hand in hand. The Pakistani government (it should be called the Pakistani Cabal), now in the hands of a rank criminal, is a pawn that can only move in two or three preordained directions. And our reporters arrive in it and report on it with those ‘rules of engagement’ subliminally and explicitly defined.

Let the wars begin!

How We Refused To Embed With Britney Spears!

In Journalism, Our Wars, Photography on July 11, 2009 at 7:15 am

I woke up this morning and read the following piece of news:

“Sweden’s four national newspapers, Aftonbladet, Expressen, Dagens Nyheter and Svenska Dagbladet boycotting Britney Spears concert at the Globe July 13. The organizer needs to press photographers must sign a contract that gives her the copyright to the images, and the right to decide which images may be published. ‘If they do not tear the contract we will not shoot,’ says DN’s image manager Roger Turesson.”

And I soon wafted into a day-dream that took me back to the world in late 2002 as the final touches were being put on the US military journalist embed program, and this announcement hit the front pages of a oh-so-imaginary-but-courageous New York Times:

“America’s four national newspapers, The New York Times, The Washington Post, The Los Angeles Times and The Chicago Tribue are boycotting George Bush’s  Gulf War to be held in 2003. The organizers of this event demand that press photographers sign a contract that gives them [the organizers] the right to decide which images may be published and what, if anything, they will be allowed to document. ‘If they do not tear the contract we will not shoot,’ says New York Times photo editor Jane ‘battlefield” Schmoe.”

I have been accused of naivete, and stupidity by those in positions of ‘power’ at magazines and newspapers for constantly harping on this.

Today, with memories that do not go beyond the 24 hour news cycle, editors justify their decisions to continue to ‘embed’ their reporters with the arguments like ‘there is no other way to do it – its too dangerous otherwise’. They fail to realize that this is precisely what the embed program hoped to achieve beyond its simple control of the ‘image’ of the war.

We live in the very house we built!

(UPDATE: 25th July 2009: NBC’s new prime-time titilation is called The Wanted that unites ’special operations’ operatives with self-declared ‘journalists’ to hunt down what they describe – without evidence, right to defense, process of law, right to counsel, a fair trial and a full hearing of course, are the world’s most dangerous ‘terrorists’. Where they get this list is easily guessed at. But, my point is underlined by such lunatic programming – our ‘journalists’, our ‘military’, our ‘intelligence’ and our ‘government’ continue to conflate. and continue to loose credibility. we are not even pretending any more!)

By getting in to bed with one of the belligerents we asked our journalists and photojournalists to participate in acts of war. The Iraqi and Afghani has been dehumanized but can we for a moment imagine what it must look like from the hell they are standing and looking from?

Dressed as toy soldiers in camouflage our reporters/photographers are seen strutting around in US military camps, sitting inside US army Humvees during patrols, chatting it up with US army personnel as civilian bodies lay shredded all around, sharing meals with those who break through doors and threaten families, walking away with soldiers as they humiliate and drag men to prisons, sharing sleeping quarters with those who torture them, and speaking fluently the language of the pillager and occupier.

That is, as pure and simple collaborators with what are illegal, and brutal wars of occupation and pillage.

Is it any wonder then that it is ‘too dangerous’ to cover it from outside the embed?

I will add that real reporters have covered the war in Iraq from outside the ‘voice over’ of the US military. Urban Hamid and Dahr Jamal come to mind, and also the group of young photographers who took considerable risks to produce independent stories from the country and the war and horror that was bestowed on her by our leaders.

I will also add that there are those who did embed, and came back with stories and images that spoke beyond what they were intended to do. Chris Hondros comes to mind, Zoriah and also Ashley Gilbertson to name a few. But these are exceptions that reveal ways that individuals have attempted to get something more out of a bad situation. They are all unique characters, not easily usurped by others and their work beyond Iraq continues to confirm this. I am sure that there are others, but again, these are people working ‘against’ the strictures of the embed program and allowing themselves to think beyond what is being shown.

And perhaps in a great irony, I remember an Iraq photojournalist telling me that it was the ordinary soldiers that were most keen on helping him see the things the Army did not want us to see – they helped him and encouraged him to photograph the insanity of war perhaps in the hope that the images could stop their involvement in this madness!

It can be done, it has been done by more and it is the only and the right way to report these wars. But it takes commitment and a willingness to understand why we are ‘reporters’ and ‘photojournalists’ in the first place.

It can still be done.

The newspapers can still come together and finally refuse to participate in the embed program and possibly even pool their financial resources to allay costs. Imagine if tomorrow all reporters simply refused, announced that they were going to arrive independent of military cover and start to work to establish an independent presence inside Iraq and Afghanistan and make the investments to rebuild trust and credibility with them, and with us here in the USA.

We need to rebuild our commitment to journalism and in particular in the eyes and minds of the people who are dying for ‘our protection’ and our supposedly sacrosanct ‘way of life’!

Newspapers and news agencies around the world have in fact organized boycotts on a number of occasions.  A little research shows however that they mostly tend to be aimed at pop stars, and sporting organizers. There was a slightly annoying incident with the National Football League some years ago, another with the Indian IPL cricket leage and then another with the football World Cup, and another with the Australian Cricket Board. I believe that the band ColdPlay was also the target of a threat of an organized boycott.

If we can confront the power of Britney, why not then the US military?

UPDATES: Some pieces that I came across that highlight the situation in Afghanistan a little better include Escalation Scam by Norman Soloman and a review by Ann Jones of the HBO film Fixer called Everything That Happens in Afghanistan Is Based on Lies or Illusions. I also found the hilarious but vividly revealing blog site for freelance reporter P.J.Tobia who is reporting the daily realities of Kabul and other places he visits.

NOTE: I realize that this boycott, like any against a pop star or a sports league, is less about ethics and standards and more about money. Rights to images determines of who gets the financial benefits of the images. However, the same argument can also be made for why American newspapers so eagerly jumped into bed with the US military; there was just more money to be made. It is easier to give people what they want than to adhere to the ethical obligations of your profession. Journalism is not just a business but, much like health care, also a public good. It is why profiteering by medical insurance companies or health care companies, so repulses us. Remember the Hippocratic Oath? We believe in the sanctity of the profession and its ethics reflect the ethics of our society; we care for all and it is just. It is what defines a civilized and developed society. Journalism is similarly – a public good and has priorities and responsibilities that go beyond money making. It has to balance profits with professional responsibility to serve the public. So yes, of course, embedding was easy and profitable and every one was doing it and it was going to be a huge seller since the nation was drunk of mindless patriotism that demanded blood and soon. We wanted pictures of heroes and liberators, not questions about the immorality and illegality of the wars, the fake intelligence reports, the lies at the UN or about ‘yellow’ cake and so on and so forth. I know all this. I still remain naive, and stupid, and idealistic and believe that regardless of the market share value improvement, it was the wrong decision and one that continues to hurt the newspapers and us as a society and a now-struggling democracy.)

Fighting Ghosts And Selling The Good War Or Why Are The Toy Soldiers On The Front Lines!

In Journalism, Our Wars, Photography on July 9, 2009 at 11:04 am
Alex Webb Magnum Photos (

Alex Webb Magnum Photos: The Invasion of Haiti 1994

The silence is deafening. As American troops are dropped in on Afghanistan to fight their fantasy war, there is no sound from our defenders of truth and checkers of power i.e. the media, about the operation, its objectives, our continued presence in the country, our blood thirsty allies, our ‘pretend’ Afghani democracy, our support of drug lords and genocidiares, our consistent killing of innocents and our blind faith in our own righteousness and unquestioned right to trample on another people and bend them to ‘our ways.

The glory of war is being sold on the front pages of our newspapers, none of which have the courage to ask what they know is in fact a fake war, aimed at a poor and defenseless people, fueled by the ‘intelligence’ and advice of a group of venal, corrupt, blood thirsty and power hungry clique of Afghani warlords, drug barons and oil huckster!

Here is The Washington Post’s idea of war. How purposeful!

Here is The Sacramento Bee looking at this war. How glorious!

Here is The Denver Post blinding themselves. Oh, Our Lord Calls!

Did someone in a marketing department at the pentagon think to arrange all this to coincide with hysteria and myopia that typically captures the nation on every 4th of July? I have to think so. Could they have found a better moment to sell ‘the good soldier’, and the righteous nation, by launching what is increasingly looking like yet another ‘ghost’ operation meant more for ‘domestic’ consumption and sales rather than any serious attempt to go after any real enemy. That something called ‘The Taliban’ are a manufactured foe is something I have written about in an earlier piece called To The Last Man: Fighting The Wrong War in Afghanistan. At most a band of village elders and fanatics with AK-47s scrambling about the remotest and barren regions of the globe have been re-cast as an existential threat to the world’s most powerful military and imperial power, and we all have fallen for it like children for the tooth fairy. Our think tanks, media ‘intellectuals’ and pundits, newspaper columnists and our politicians have become the finest marketing arms of the brand called ‘Al Qaeda’ and ‘The Taliban’, a brand that is perpetually maintained in front of our eyes and sold complete with music, video, and live performances such as this latest operation in Afghanistan.

I am reminded of the ‘great’ American military fantasy in the little country of Haiti – and Alex Webb was there to cut past the lies that these ‘toy soldier’ photojournalists love to sell once their work is done. He was abused for his ‘irresponsible’ pictures. I on the other hand remember hearing a rare honest voice.

Soon these ‘war’ pictures will be sent to competition around the globe, and winners will give interviews about how they wanted to ’shed light on the truth’ and other such gibberish that is used to obscure the fact they mostly want to glorify themselves. This band of clowns who confuse bravado with bravery  will then be awarded trinkets at annual photo competitions by behind-the-desk warriors in offices at major magazine headquarters in metropolises around the globe. No questions will be asked about the veracity of the work, the independence of the sources, the commitment of the individual.

Chris Hedges said it best in a piece called On War:

The vanquished know war. They see through the empty jingoism of those who use the abstract words of glory, honor, and patriotism to mask the cries of the wounded, the senseless killing, war profiteering, and chest-pounding grief. They know the lies the victors often do not acknowledge, the lies covered up in stately war memorials and mythic war narratives, filled with stories of courage and comradeship. They know the lies that permeate the thick, self-important memoirs by amoral statesmen who make wars but do not know war. The vanquished know the essence of war—death. They grasp that war is necrophilia. They see that war is a state of almost pure sin with its goals of hatred and destruction. They know how war fosters alienation, leads inevitably to nihilism, and is a turning away from the sanctity and preservation of life. All other narratives about war too easily fall prey to the allure and seductiveness of violence, as well as the attraction of the godlike power that comes with the license to kill with impunity.

Professor Marc Herold has been working to reveal the media’s role in selling us war. In a piece called War As An Edsel: The Marketing & Consumption Of Modern American Wars he points out that

By the first Gulf War, reporters were confined to pools and the Pentagon distributed video-game like footage to TV channels extolling the precision of U.S. weaponry. In September/October 2001, the Bush Administration hired the public relations firm, Rendon Group1, and also Ms. Charlotte Beers, former “queen of Madison Avenue” and chairperson of both advertising giants J. Walter Thompson and Ogilvy & Mather (she had successfully promoted Head & Shoulders shampoo and Uncle Ben’s Rice), to “explain” the new Bush wars to Muslims abroad (and the American consumer), creating the new post for her of the State Department’s Under Secretary of State for Public Diplomacy with a half billion dollar budget.2 According to Colin Powell, Beers was fluent with branding and she was:

“from the advertising business. I wanted one of the world’s greatest advertising experts, because what are we doing? We’re selling. We’re selling a product. That product we are selling is democracy.”

Democracy sold abroad, war sold at home. But while the battle for minds abroad led by Beers and Rendon fared badly in Muslim lands, the battle on the home front to persuade the American public led by MIMIC succeeded eminently. The Bush Administration worked hard to encourage and benefit from a compliant mainstream domestic corporate media – led by Rupert Murdoch’s Fox News, Time Warner’s CNN, the Clear Channel radio network, radio talk shows, and major dailies like the New York Times, the Los Angles Times, and the Washington Post and journals like Rupert Murdoch’s Weekly Standard – which served as giant megaphones of State Department and Pentagon positions on the Bush wars… Clear Channel, the largest owner of radio stations in the country, has scrapped even any pretense of objectivity with its sponsorship of pro-war rallies in major cities throughout the U.S. The mainstream media bosses recognized – led by CNN’s coverage of Iraq in 1991 – that media flag-waving, fabricated personal story heroics, action-movie like storytelling, techno reporting could boost TV ratings and profits.

And so here we go again – the blatant entanglement of our media barons with the purveyors of power are known and obvious and the war in Afghanistan is being ‘produced’ for us much as the previous wars. The tired cliches are being published by machine-tool journalists who cannot even bother to confront the obfuscating language they have become so used to using. Rory Stewart recently wrote about the use of language to curtail thought and achieve results in a piece called The Irresistible Illusion :

When we are not presented with a dystopian vision, we are encouraged to be implausibly optimistic. ‘There can be only one winner: democracy and a strong Afghan state,’ Gordon Brown predicted in his most recent speech on the subject. Obama and Brown rely on a hypnotising policy language which can – and perhaps will – be applied as easily to Somalia or Yemen as Afghanistan. It misleads us in several respects simultaneously: minimising differences between cultures, exaggerating our fears, aggrandising our ambitions, inflating a sense of moral obligations and power, and confusing our goals. All these attitudes are aspects of a single worldview and create an almost irresistible illusion.

It conjures nightmares of ‘failed states’ and ‘global extremism’, offers the remedies of ‘state-building’ and ‘counter-insurgency’, and promises a final dream of ‘legitimate, accountable governance’.,,It papers over the weakness of the international community: our lack of knowledge, power and legitimacy. It conceals the conflicts between our interests: between giving aid to Afghans and killing terrorists…It is a language that exploits tautologies and negations to suggest inexorable solutions. It makes our policy seem a moral obligation, makes failure unacceptable, and alternatives inconceivable. It does this so well that a more moderate, minimalist approach becomes almost impossible to articulate.

Our ‘brave’ photojournalists continue to cloister their minds and thump their chests as they rush into ‘combat’ protected of course by entire battalions of some of the best trained military men and women in the world. No need to think how they got there, or why they are there on the front lines.

The toy soldier lives.

The Afghani dies.

I still wonder how we got here and why the slide to this mediocrity has proven so easy!

Broken Promise: Israel Known & Unknown

In Israel/Palestine, Journalism, Our Wars, Photography on July 3, 2009 at 11:33 am

HAMID SAMONI  Father of Zakaria Hamid Samoni, 8 years of age, who was killed by a rocket fired from an Israeli helicopter operating in their neighborhood.

HAMID SAMONI Father of Zakaria Hamid Samoni, 8 years of age, who was killed by a rocket fired from an Israeli helicopter

The Summer 2009 issue of The Virginia Quarterly Review magazine dedicated to matters Middle East has been published just as Amnesty International releases its report on Israel’s 22 day assault that began on December 27th 2008 on the territory of Gaza.

The report (download a copy at this link) provides a broad human rights and war crimes background to the work that writer Elliott Woods and I recently completed in Gaza thanks to the generous support of the Virginia Quarterly Review and The Pulitzer Center On Crisis Reporting.

Elliott Woods essay Hope’s Coffin focuses on Gaza’s young generation and its view of the future. My essay Portraits of Survival steps away from the conventional Gaza conflict photography and concentrates on portraits of people left to deal with the scars of this recent conflict. You can also read our field reports that we compiled for The Pulitzer Center while we were on the ground in Gaza.

Peter Lagerquist has also contributed with an amazing piece called Tracing Concrete that examines the who examines the legacy of British methods of detention and barricading in Palestine, a legacy that now live on in Israel’s occupation of the West Bank and Gaza.

The issue emerges a few weeks after some other news. Noted Israeli writer, journalist and intellectual Amos Elon passed away on the 25th of May 2009. His voice, his views and his courage in speaking honestly about the situation in Israel/Palestine will be greatly missed. As Tony Judt says in his obituary:

Amos Elon’s commitment to Israel, the country where he lived and worked for most of his life, was never in question. But for just this reason his awkward stance, relentlessly engaging with the country’s failings, set him apart. His courageous refusal to endorse the clichés with which Israel’s defenders parry every criticism contrasts not only with the defensiveness of contemporary left-wing Israeli commentators but also and especially with the pusillanimous apologetics of Israel’s American claque.

His pieces in The New York Review of Books – Olmert & Israel, and Israelis & Palestinians are just samples that offer us insights into his clarity of thought and courage of conviction. And it his breath of vision that also offered us insights into the failings of the Palestinian leadership that is also responsible for the mess their people are in today. Again, from Tony Judt’s obituary:

His sympathy for the “stateless, dispossessed, and dispersed Palestinians” did not blind him to the ineptness of their leaders. He had met enough Arab and Palestinian politicians to know just how inadequate they were to the tragedy of their peoples and the tasks facing them.

His pieces provide us an important and complex backdrop to the crisis in the region and the forces that work against what most would call a just and civilized solution.

In addition, the Israeli journalist Amnon Kapeliouk also passed away recently. He wrote frequently in Le Monde Diplomatique and was a incisive thinker about the state of Israel and her politics. His pieces for the Le Monde Diplomatique like Limits to Tolerance , Israel’s Failed Invasion, and Israel: An Army In Power remind us once again of the powerful voices within Israeli society, politics, media and culture that are not cowed by her leader’s trenchant and shrill assault on things human, moral and just.

We do not know Israel. I am always struck by the fact that so few photojournalists have paid attention to the complexities and conflicts within Israel. As a photographer I remain dismayed at how little photo-journalistic work has been done on the country itself rather than its occupations next door. I believe that today we can learn more about the nature and reasons for the occupations and wars by looking inside Israel. To understand why life in Gaza is as it is one has to look at the Israeli communities around Gaza.

Writer Peter Lagerquist has argued this frequently and even created a powerful proposal for a magazine piece on this. As yet my attempts to take his ideas to photo editors have only been met with blank stares. It seems that we are either not ready to ’see’ Israel, or not ready to engage in the complex.

In the Arab world the country is seen as a monolithic pathology, a state consisting of homogeneously fanatic ‘yehudis’ with a thirst for Arab blood. To say nothing about the many ‘James Bond/007′-inspired conspiracies that simply exaggerate her powers and influences around the globe, to say nothing about bestowing its incompetent and mediocre leaders and secret agencies like Mossad with intelligence and a genius they hardly deserve!

Its complexities are lost to most, and with them the chance to engage and join the voices that are from within Israel speaking out against her injustices. We know well the righteousness and religiously sanctioned occupations of the West Bank and Gaza, the continued discrimination and harassment of its Arab citizens, its amnesia about the violence and inhumanity that underlined her founding, its celebration of violence as emancipation, its militarization of its culture, politics and society, its complete ignorance of the very continent and culture it actually sits in, and its aggressive and destructive influences in the politics and societies of its neighbors. We know it and we condemn it.

But we should also know that Israel needs to be engaged and entangled with. In particular, we need to connect with those within her who are confronting its structures of power and repression. As academics, intellectuals, politicians, students, writers, photographers, artists, activists and critics we have to add our voices to the minority within that is also risking its safety, welfare and security confronting what Kapeliouk called an army with a state!

Kapeliouk was one of the founders of the Israeli human rights group B’Tselem, which recently won an award for their ‘citizen journalism’ campaign where they handed out video cameras to Palestinians in the West Bank and Gaza Strip to document human rights violations. B’Tselem then uses the footage to advance human rights and law enforcement in the region. And how many know that some fine work about the reshaping of East Jerusalem has come from a young Israeli photographer. Yoav Galai has spent many months documenting the destruction and reshaping of the Arab neighborhoods of East Jerusalem. Its a story and situation that deserves even more attention. He continues to write about the area in his personal blog site as well.

Elon and Kapeliouk offer us examples of courage that we would do well to emulate. Not just when it comes to Israel, but to our own societies. Their voices may now be silent. But their ideals, courage and vision must be carried forward.

World Press Photo And The Numbness of Repetition: Stephen Mayes Speaks

In Journalism, Photography on May 27, 2009 at 12:07 pm

Stephen Mayes, World Press Photo Secretary for six years, gave a widely noted keynote address at this year’s event in Amsterdam. In what can only be described as a strange coincidence, he echoed sentiments I had written about back in the summer of 2008 that photojournalism today has become repetitive and conventional.  To quote from my earlier post:

There is another underlying reason why photojournalism is dying, and that we are still not prepared to confront.  The reason is that most photographers and photojournalists are purveyors of cliches and repetitive, predictable stories.  Mental asylums, prostitutes in third world countries, drug addicts in third world countries, the homeless, street kids, dying HIV/AIDS patients in Africa, polluted cities, Latin American migration pathways, KKK, burqa/taliban/fanatics in Islamic countries, China pollution, China growth, China mingyons, China modern, China rich, India AIDS etc. etc.  One could create a Chinese menu of a couple of pages to represent a belief amongst photojournalists that photojournalism is about pathos and emotions, and that there are some ’subjects’ that are what it does. We have lost our love of the story.  We are no longer telling interesting stories.  In fact it could be argued that photojournalism today is basically middle class voyuerism.  It carries with it the stifling and infantile morality of a middle brow suburban family and attempts to deliver ’shock’ stories to titillate them into watching. Or it just reduces to historical and charter-tour cliches stories that could be rich, complex and eye-opening.

In a strikingly similar vein you can hear the far more experienced and articulate Stephen Mayes speaking at the World Press Photo awards this year.  You can hear an audio recording of his talk.

I was particularly struck by his comments that reflected much of my thinking on this issue.  As he says in his talk (as scribed by Jens Haas from the Notes From Nowhere blog) :

The overwhelming impression from the vast volume of images is that photojournalism (as a format for interpreting the world) is trying to be relevant by copying itself rather than by observing the world. Nowhere is this more obvious than at World Press Photo where every year the winners stimulate a slew of copyists (in style and content). It’s easy to understand why when we consider that the last twenty years has seen an explosion in the numbers of professional photojournalists and a collapse of the traditional markets. As more photographers compete for less page space, a lot of work ends up in competitions as the only outlet – and as the largest, World Press Photo gets more than its fair share.

Every year, the jury is astonished by the repetition of subjects and the lack of variety in the coverage. From the infinity of human experience the list of subjects covered by the entrants would fill a single page, and (excluding sports as a specialist area) could be reduced even to three lines:

- The disposed and the powerless
- The exotic
- Anywhere but home (the American election would be one of the exceptions to this rule.)…

This is the general view, the blurred impression of 470,214 images and of course there are many exceptions. But meanwhile hospitals and the sick (and especially mental hospitals), the afflicted, the poor, the injured are photographed way in excess of their actual numbers. And I have a feeling that there are as many photographers as drug users in the Kabul’s Russian House. As one juror said this year, “90% of the pictures are about 10% of the world.”…

- Over represented: commercial sex, suffering black folk, Muslim women in veils, same sex couples kissing, holding hands
- Under represented: middle class, affluent drug users, real sex, personal sex, black culture and expanded vision of black life outside Africa.

I encourage you to listen to his entire talk.

I recently raised this issue in a workshop I held in Dubai for young photographers just starting out on their careers or thinking about pursuing photojournalism as a career. Too many too quickly confine their ideas about ’subjects’ and ‘focus’ to the conventional arenas of photojournalism as they know and understand it. Few were able to jump to the realization that photojournalism is also about story telling, and that there are so many stories that are just not being told! And all too often they chose subject based around pathos and emotions. Few could think of ideas that were built around a new set of objectives for example to provoke thought and make an argument. None thought about stories from within their own lives, or their own social spaces in the UAE.

There is a whole new world of photography. Its greatest change is not in the technologies that we are being told will save us – not in multimedia, not audio sound recordings or any such, but in the fact that we can now do our own stories, new stories, and take them out to the world without first having to get the approval of an editor, a curator or a jury. And with this liberty comes the possibility of re-inventing what photojournalism is, and how we go about telling stories, and of course, the stories we tell.

So lets begin.

The Dust From Blood Filled Eyes: On Bangladesh and Acknowledgment of Crimes

In Photography, Poetry, The Daily Discussion on May 25, 2009 at 10:20 am

Chapter 9 of Totten, Parsons & Charny’s book Century of Genocide is dedicated to Bangladesh.

But my earliest realization of the horrors that had been inflicted on the people of Bangladesh (then East Pakistan) in 1971 came through two poems by Faiz Ahmed Faiz.

Stay Away from Me (Bangladesh I)

How can I embellish this carnival of slaughter,

how decorate this massacre?

Whose attention could my lamenting blood attract?

There’s almost no blood in my rawboned body

and what’s left

isn’t enough to burn as oil in the lamp,

not enough to fill a wineglass.

It can feed no fire,

extinguish no thirst.

There’s a poverty of blood in my ravaged body—

a terrible poison now runs in it.

If you pierce my veins, each drop will foam

as venom at the cobra’s fangs.

Each drop is the anguished longing of ages’

the burning seal of a rage hushed up for years.

Beware of me. My body is a river of poison.

Stay away from me. My body is a parched log in the desert.

If you burn it, you won’t see the cypress or the jasmine,

but my bones blossoming like thorns in the cactus.

If you throw it in the forests,

instead of morning perfumes, you’ll scatter

the dust of my seared soul.

So stay away from me. Because I’m thirsting for blood.


Bangladesh II

This is how my sorrow became visible:

its dust, piling up for years in my heart,

finally reached my eyes,

the bitterness now so clear that

I had to listen when my friends

told me to wash my eyes with blood.

Everything at once was tangled in blood—

each face, each idol, red everywhere.

Blood swept over the sun, washing away its gold.

The moon erupted with blood, its silver extinguished.

The sky promised a morning of blood,

and the night wept only blood.

The trees hardened into crimson pillars.

All flowers filled their eyes with blood.

And every glance was an arrow,

each pierced image blood. This blood

–a river crying out for martyrs—

flows on its longing. And in sorrow, in rage, in love.

Let it flow. Should it be dammed up,

there will only be hatred cloaked in colors of death.

Don’t let this happen, my friends,

bring all my tears back instead,

a flood to fill my dust-filled eyes,

to wash this blood forever from my eyes.

(Translations by Agha Shahid Ali, from his book The Rebel’s Silhouette)

These poems, when I first came across them in the early 1980s, cut past all the obfuscations and euphemisms that until then had been used by Pakistanis to speak about the 1971 conflict. More than any official history book, these words revealed how a nation inflicted such deep and inexcusable suffering on to its own body politic. And much of it on the basic of vanity and bigotry.

It is estimated that nearly 3 million East Pakistanis were killed in a 9 month period. Over 10 million were displaced because of the mayhem created by members of Pakistan’s military and political establishment. The East Pakistani’s crime was a determined, non-violent political movement to claim their rightful place at the head of the Pakistani government.

The 1970s elections had been fairly and overwhelmingly won by the then province of East Pakistan. But handing the levers of power to a people spoken about it the lowest and most rascists terms by the members of West Paksitan’s elite was unthinkable.

A genocidal campaign to break them was more palatable.

And it was a campaign carried out with the encouragement and support of that ‘liberal, democratic’ leader, Zulfiqar Ali Bhutto. In his excellent memoir Journey to Disillusionment, Sherbaz Khan Mazari reveals the inside story of this ambitious and ultimately flawed individual who not only precipitated 2 major wars, but began and sustained his career by getting in to bed with Pakistan’s military henchmen.

His later legacies would include the mutilation of Pakistan’s constitution in 1973 with the infusion of questionable, obscurantist and basically unjust ‘Islamic’ clauses and amendments that would lay the ground work for regional calls for ‘Sharia Law’, and are in fact the foundations for the recent crisis in Swat. But I will write more about Zulfiqar Ali Bhutto and his legacy in a separate post.

Pakistan has never formally acknowledged its crimes in Bangladesh, nor prosecuted any of those involved which includes some of the top member’s of the military brass and the political establishment On May 16th when the Bangladeshi Foreign Minister officially asked the Pakistani Government, through its Bangladesh High Commissioner, for an acknowledgment, prosecution and an apology, the Pakistani envoy responded by saying ‘Let bygones, be bygones’

Saiful Haq Omi is a young Bangladesh photographer. One of a new generation of amazingly talented photographers emerging from that country. In fact, I can’t stop talking about photographers like Shehzad Noorani and Munem Wasif and others that this often forgotten country has managed to unleash onto the world stage. They are in my opinion amongst the very best working anywhere in the world today.

In a short email exchange, as I congratulated Saiful Haq on being a finalist for the prestigious Alexia Foundation Grant, (NOTE: he was also a finalist for the 2009 Aftermath Grant) I mentioned to him how much I would love to visit Bangladesh some day, and do some work there, as a small gesture of friendship and atonement for what I know has been a bloody, brutal and perhaps most painful to a new generation of Bangladeshis, an unacknowledged crime.

His response, as all Bangladeshis seem to respond when I raise this issue – with a combination of gentle humility and anxious openness was – and I quote:

I was born 10 years after the war ended, 1980. But I have carried war in my heart. Almost half of my family died , they were all killed. And if you come to my home , on the 26th of March- Our liberation day or on the 16th december , our victory day you would hear that someone still cries. And that is my mother who is crying.

I carry the war in my heart , I carry the war which I never saw, but I will carry till my last day. The War is Me!

Perhaps the Pakistani envoy would do well to  remember that it is the victim that chooses to forgive, to decide whether a bygone is a bygone. The sheer arrogance, callousness and inhumane indifference exhibited by the ‘official’ voices of Pakistan is stagering if not outright criminal!

We lack processes for forgiveness. For a region that has seen so many genocidal massacres, I find it strange that we, the people of South Asia, have few if any processes for forgiveness. Sara Terry is an American photographer who has done extensive work on the aftermath of war. Her project on post-war Bosnia – Aftermath: Bosnia’s Long Road to Peace, remains for me one of the finest examples of photojournalism that i know of. More recently she has been involved in a brilliant and creative project documenting indigenous practices of reconciliation and forgiveness in the continent of Africa.

We would do well to learn from the Africans. I can’t wait to see the results of Sara’s work.

In the mean time, as the official voices of Pakistan remain silent if not outright dismissive, members of the Action For A Progressive Pakistan have come forward and spoken from which I quote:

The outrageous dismissal of Bangladesh’s demand by the Pakistani foreign office – “let bygones be bygones” – is a shameful reflection of Pakistan’s constructed amnesia over the horrific actions of its Army and its political leadership. Not only has there never been a move on the part of the Pakistani state to apologize to Bangladesh, there has not been any sustained effort by citizens’ groups to pressure the government to publicly acknowledge the truth.

As Pakistanis, we find this unconscionable. We find it unconscionable that the Pakistani army raped, killed and pillaged our brothers and sisters in East Pakistan in 1971. We find it unconscionable that the Pakistani state has steadfastly refused to acknowledge these atrocities for the past 38 years, leave alone hold those responsible for them accountable as suggested by its own Chief Justice in the State commissioned inquiry. We reject the Pakistani state and army’s claim that these atrocities were committed in our name.

Its not much. But it is a start. I hope that the Bangladeshis will be patient as we work ourselves towards the truth. It is a lot to ask, perhaps unreasonably so of a people terribly wronged. But it may be the only thing that can offer the tears that eventually remove the dust from our blood filled eyes.

A Kinda/Sorta Conversation With Magnum’s Peter Marlow

In Journalism, Musings On Confusions, Photography on May 22, 2009 at 11:29 am

No I have actually never had a conversation with the great Peter Marlow. I have never even met him. But he wrote a blog post back in 2007 to which I responded with some comments.

I am posting these comments here now because I realize that these comments, made back in July 2007, contain within them the seeds for what eventually has become my ‘The Idea of India’ project I am currently working on. It surprises me to see the continuity of thought that I was able to sustain – something I can’t claim I have ever achieved before – and that eventually, nearly 12 months later was expressed as this new project.

Peter’s original post explored how the Balkan conflict was ‘officially’ represented in Serbia, and that even today it is best referred to as ‘NATO aggression’. As an American visiting Serbia for a series of exhibitions Peter found himself in a slightly uncomfortable position and had to carefully negotiate what is still clearly a very sensitive issue in the country. While giving a talk at a workshop that he held for Serbia photojournalists, Peter explains that he..

…showed a press card created by our New York office, bizarrely for the ID photograph they used a shot of me wearing anti-flash goggles on the deck of the aircraft carrier. As many of the people in the room had shot the story from the ‘receiving end’ I could feel a strong reaction as soon as I mentioned the ‘Kosovo Crisis’ and my own coverage of it. I asked the audience if this was the right terminology, and was told rather sharply by one photographer that the correct expression was “The NATO Aggression”.

I was reminded of a recent experience I had had in Japan while on assignment there for National Geographic (France) magazine and decided to write a response to Peter’s post which read something like this:

peter;

your experience with the serbian photojournalists reminded me of a recent experience i had with some japanese manga artists. while on assignment in japan i had the opportunity to speak to a couple manga artists famous for their works depicting the horrors of the aftermath of the hiroshima bombings. i was moved by the power of their work and by the immediacy of their memories of the terribly day of the bombing. their work powerfully depicted the sufferings, and later the humiliating abandonment of the victims by their own fellow japanese.

however, i was also very perplexed when i realized that throughout our conversations we avoided any discussions about the broader, historical context of the event. no one mentioned that japan at that time was a nation at war, that millions had died in countries in asia resisting her expansionism, that her occupations iin south-east asia and south asia were brutal and resulted in unmentionable atrocities and so on and so forth. we only talked about hiroshima decontextualized from wider events.

the issue of history, japan’s role in WWII, her occupations and war crimes of course remain controversial issues even today and her history books continue to face criticism for their avoidance of specific facts.

see: http://en.wikipedia.org/wiki/Japanese_history_textbook_controversies

these are painful issues and not easily resolved. and i am not suggesting that the war justified the hiroshima bombings. i am merely suggesting that ignoring facts is an act of will, a choice that one makes perhaps because one is determined to hold on to one’s prejudices or beliefs. or simply that playing the role of a victim takes less effort!

calling the war in kosovo merely ‘NATO aggression’ is neither historically correct nor a defensible position. it is an act of transforming oneself into ‘a victim’, hence excused from broader moral issues. it encourages us to simply not make an effort beyond our current beliefs. it is a prejudice that suggests a determination to not examine or give a hearing to the wider issues at play in the conflict, including human manufacturing of history, the use of propaganda, the cold lies and manipulations of politicians, the atrocities and injustices carried out ‘in the name of the nation’ and other abstract, little examined assumptions.

your suggestion for a series of workshops in serbia is a fabulous idea. i do believe however that photography can avoid falling into the trap of pandering to any one side ‘of the same story’, but to use photography’ to develop an awareness of the broader story, to help a nation question her prejudices, to encourage citizens to confront uncomfortable truths and view points and use photography as a way to raise awareness, change ideas, and develop new dialogues where previously only rhetoric may have existed.

kosovo and serbia have continued to hold on to their rigid myths with little or no effort to develop a new dialogue that may spare them further wars and further suffering of their people. prejudice, hate, and self confirming and aggrandizing beliefs still fill the air in both regions. photography may never convince people to change their ideas, but it can certainly begin the process by encouraging them to step into uncomfortable situations and confronting those we may have previously dismissed or disliked.

i am sorry that this is so poorly written. i am still waking up here in sweden.

today we are told that photography has no role to play in bringing forth the truth, and that it is merely to be reduced to illustration or art. but i disagree. photography is not just the pictures, but also the research and act of stepping out to take the pictures. these intellectual and physical elements also differentiate one photographer from another. some are better at it than others in clearly measurable ways!

and they are perhaps the most important elements in helping us learn, grow and change – we have to read, and we have to step out into new world, confront people there, and actually engage and deal with them. this is where photography outdoes literature, poetry, paintings etc. because it is the only creative endeavor that forces us to create and maintain a dialogue with our subjects. other endeavors allow this dialogue, but do not necessarily demand it (i will say nothing about works by people like jeff wall etc.)

imagine, a group of serbian photographers having to do personal stories about life in kosovo, or on the edges of divided cities like mitrojvica! i can see the workshop going far beyond the banality of aesthetics, exposure control, RAW processing or frame filling! it steps into a whole new world where perhaps we can once again begin to discover the reasons why man picked up the camera in the first place and started to bring pictures back home – to amaze us with the incredible things we saw in the world, and to surprise us with what we had never expected!

Asim (July 24th, 2007)

Creating Tempests In Tea Cups Or What Else Can A Photo Editor Do!

In Journalism, Our Wars, Photography on May 21, 2009 at 9:08 pm

The following recently appeared on the pages of the New York Times:

“A picture on May 5 with the continuation of a front-page article about the porous Afghanistan-Pakistan border, and the strategic advantages it offers to Taliban insurgents fighting American troops, showed a silhouetted Taliban logistics tactician, who was interviewed for the article, holding a rifle, creating the impression that the weapon belonged to him. The Times subsequently learned from the photographer that the rifle belonged to the owner of a home in Pakistan where the interview took place, and that the Taliban tactician had held the weapon only for the purpose of the photograph.

“Had The Times known this information at the time of publication, it would not have used the photograph to illustrate the article.”

The image in question is here:

zack_nyt_issue

Photography By Zachary Canepari

There have been a round of blog and online discussions on this matter so I will not repeat most of what has been said. In fact, most of it is trivial, misleading and completely misses the point.

When I read this public ‘apology’ by a paper that I have repeated accused of indulging in shoddy, manipulative and in fact irresponsible journalism (see my two blog posts titled The Worlds Most Dangerous Nation and Only Interesting If Its Madness) when it comes to regions Pakistan/Afghan I could not help but laugh.

I found their language and their justifications condescending and manipulative.

It is condescending because it attempts to convince us of the ‘integrity’ of this newspaper which will not let stand even the most ‘minor’ infractions. It attempts to create in our minds the idea that this publication adheres to only the highest and most rigorous standards of journalistic ethics. So high that even this young photographer’s minor infraction deserves a public flogging and a kowtowing to the readers.

We are supposed to forget that this is a newspaper that has repeatedly sent its photographer’s into the US military embedded photographer program, and that continues to in fact provide most all its reporting from Iraq and Afghanistan from these embedded (read: censored, controlled, scripted, manufactured, crafted, sculpted, curtailed, manipulated, overseen and monitored) positions and perspectives. We are supposed to believe that journalist ethics are less about the way we gather the news and more about the way we present it.

We are supposed to forget that this is also one of a number of American newspapers whose journalists failed to ask even the most basic of questions and failed to examine even the most public of facts during the build up to the invasion of Iraq. Their ethical reporters were on the front lines of journalistic jingoism, helping sell the war to the American public.

And far from being an anomaly in the past, it even now continues in its refusal to ask hard questions about what in fact is actually taking place inside Southern Afghanistan, and continues to publish reports and pieces by a number of its journalists whose entire reporting relies on official government sources from the American, Afghani and Pakistani sides.

The same news publication’s journalists and photographers continue to win international and domestic awards despite the fact that they have mostly been at the mercy of a masterfully planned and executed military propaganda machinery.

And yet the newspaper has never taken it upon itself to let us know that it understands that the perspectives it reports in its pages when it comes to Iraq, Afghanistan and Pakistan are completely and near-absolutely colored by military and political interests that rather not tell us the truth but only that which will help us continue the misguided and unjust conflicts in the regions.

Into this foray arrives a young photographer, who produces for effect a picture that he knew he would need to produce to have it published in this newspaper. He should have been sanctioned for his manipulation, but a public flogging seems completely over the top. It has unnecessarily, and for a trivial manipulation, damaged the career of an otherwise talented and hardworking individual.

In the scheme of journalistic manipulations, from reporting from within the embed program to mindlessly repeating the inanities of ‘power brokers’ just to maintain access to them, Zachary Canepari’s infraction is trivial. It should have elicited nothing more than a behind-the-door reprimand. Lets keep in mind that neither the photograph nor the manipulation were important to the story that was run, or affected what the story attempted to discuss.  In fact, it was a pointless illustration (its just a silhouette!) and the story could in fact have stood on its own even without it!

The apparent apology is also manipulative. It places the entire responsibility on the shoulders of the young photographer and hence (as has been done many times by many publications in the past) acquits  the editors at the publication.

Editors (and not just photo editors, but the main editors) have significant influence in determining what kinds of pictures are made because they have a significant influence on what kinds of pictures are published. And the dirty little secret of photojournalism is that all photographers, particularly young and ambitious ones, learn quickly what editors want.  All photographers want their pictures published and they, either through experience or by watching the work of others, quickly absorb and understand what kinds of pictures a certain editor is looking for and prefers to run.

No where is this ugly reality more true than at wire agencies. Having watched the mind numbing repetitiveness of images being produced by local Palestinian, Afghani, and Kashmiri wire news photographers, I could not help but understand that they are simply taking orders from the desk editors, who are in turn, simply taking orders from their client publications. Wire photographers only shoot what sells, and what sells is what the editors are buying. The machinery of mass produced conflict imagery is little examined or understood, while the fantasy of the ‘independent’ photojournalist ‘exploring’ and ‘discovering’ the world carefully managed and sold.

And even major news magazines do this, as I have learned from direct experience. Editors will in fact even call their photographers and tell them what kinds of images they want. The same has been confirmed to me by a few other photojournalists working for major American news magazines – that editors will tell them what they want in the image, in particular, the kind of ‘mood’ and ‘atmosphere’ they are looking for.

This has happened to me on at least 2 occasions while working for two different American weekly news magazines. The editors, disappointed that my images from one of Pakistan’s frontier cities, were not ‘appropriate’ insisted that I had to produce images with a greater atmosphere of ‘menace’ and ‘threat’! When I failed to do so, they simply went to their archives and used the work of another photographer because it fitted the ‘atmosphere’ they were trying to create more than my work did.

On another occasion and with a different weekly news magazine I had an editor explicitly ask me if I could confirm that the people in the region of Mohmand, (FATA) Pakistan that I had photographed were ‘Al-Qaeda and/or Taliban supporters’ because that would be the only way she could actually consider running the work. When I refused to ‘confirm’ this, the work was shelved.

Photographers learn quickly what will publish and what will not.

Zachary Canepari, an otherwise fine and talented young photographer, has recently been shooting a lot of assignments for the New York Times newspaper. I find it impossible to believe that he was not  aware of the kinds of images and the mood that the editors were looking for.

Organizational cultures influence our behavior within them. We become aware, without even explicitly being told, which behaviors are awarded and which sanctioned. Young photographers shooting for the New York Times, (or other mainstream American newspapers) quickly learn how certain regions of the world need to be depicted and the kinds of images that in fact get published.

It is why we continue to see a the same sorts of pictures being produced from places like Afghanistan and Pakistan that we have been seeing for years; burqa clad women, bearded and demonic looking protestors, maniacal mosque worshippers and fanatical mullahs. And it is why it comes as no surprise that these shallow, embedded and conventional depictions continue to win major awards.

The visual language that a photojournalist employs does not occur in a void but in fact reflects a publication and editorial environment where that language is understood, received and celebrated. Those that speak this language the best are awarded with publication, fame and ‘authority’. This remains a little discussed fact and most all editors in fact distract us from this broader reality by constantly nit picking on minor image manipulation issues. As was recently done when a jury dismissed the work of a Danish photographer for making the sky look a bit too blue!

The outcome of that last non-existent controversy was the photographer declaring that in the future he would only participate in competitions with pictures made in ‘black & white’!

Can there be a better description of the idiocy of these discussions than this one? A competition that will accept the absolutely artificial and manipulated representation of the real world that is b&w photography,is the same one whose jury was ‘angered’ that a photographer had made his sky a bit too blue!

We are truly in the land of morons!

There are serious questions about journalistic integrity and ethics that need to be asked. From the kind of language that is used in reporting, to the means by which news is in fact actually gathered to how suceptible to power it has become. These are questions at the heart of the crisis that inflicts American journalism today. However, useless discussions about the extent of Photoshop manipulation or ’set up’ images seem rather besides the point and nothing more than the grand standing of photo editors who realize that these trivialities are pretty much all that is left for them to pontificate on as the broader decisions about content and context have been taken away and handed to MBAs and advertising executives!


Blood Is Not Thicker Than Water: On The Death Of My Friend Raza Khan

In Journalism, Our Wars, Photography on May 13, 2009 at 12:47 pm
Rafiqui_Pakistan_A_012

A Raza Khan photograph - Peshawar 2008 while on assignment for Stern Magazine. As he dropped me off on this corner and drove off to run a quick errand, he shouted back 'Asim, now don't wander where I can't find you. ok? I will be back and then we can do other things!'. I did not wander.

Raza was my rock.  He was my eyes and ears on the dangerous Pakistani frontier with Afghanistan. He was the only person in Pakistan I trusted with my life and I repeatedly placed it in his hands. He never ever let me down.

He was officially a fixer, but Raza Khan was far, far more than that.

There isn’t a photograph I have made in the tribal regions of Pakistan that did not have the help and/or advice of Raza Khan.  From the streets of Peshawar, to the alleys of Jalozai,  the mountains of Mohmand, and into the dangerous center of Mingora, Swat, Raza Khan was always by my side, always watching, always, protecting, always alert to anything and anyone who may pose a threat to me. I never ventured to Pakistan without calling him first. Often he would drive all the way from Peshawar to meet at the Islamabad airport.

Raza Khan died last week in a car crash. He fell asleep at the wheel of the car he was driving. Perhaps he had just pushed him once too often trying to help a couple of foreign journalists get their jobs done.

In 2008 while shooting in the crowded bazaar’s of Peshawar, Raza Khan asked me to hand him my wallet for safe keeping.  ‘They will target you because you look like a foreigner’, he said. I handed it to him. 15 minutes later his pocket got picked! We laughed at the irony, at the sheer stupidity of the situation. I had no cash, no bank cards and at least 2 weeks of assignment work to complete.

A few hours later Raza Khan turned up at my hotel room with $1000 in cash – ‘You return it to me whenever you can. I made a mistake. Your work has to continue’.

In 2004 Raza Khan asked me to take a photograph of him and me together.  We were in the wilds of the Mohmand tribal agency. We asked a passing truck driver to stop and take a picture of the two of us together with the mountains as a backdrop. As we stood together he put his hands around my shoulders and said ‘Show this to your wife so she can believe that you have family in Mohmand.’

He had always wanted to take his daughter for a dinner at Peshawar’s PC Hotel and he told me the last time I saw him, which was in 2008, that he would bring her with him the next time I came back to Pakistan and that we could all eat together. The honor that he had bestowed upon me with that statement made me blush. A deeply conservative Pushtun, Raza Khan had actually suggested that I, a non-family friend, could meet his daughter who would otherwise never be allowed into the company of strangers. It was then and there that I realized that I had long passed from being merely a friend, that I was no longer just another photographer working with him, but that our relationship had evolved to something far more, and deeper.

It was then that I realized that I had become family.

I will ask permission from his sons to take his family, and in particular his daughter, to dinner to the PC Hotel in Peshawar the next time I am in Pakistan. It is a promise that I must keep.

Raza Khan was my eyes and ears on the dangerous Pakistani frontier with Afghanistan. He was the only person in Pakistan I trusted with my life and I repeatedly placed it in his hands. He never ever let me down.

I can’t remember the last time I wept at the loss of someone.

I can’t remember at all.

I have wept for Raza.

I don’t want these tears to dry because I don’t want to forget him

Note: Time Magazine’s former Pakistan bureau chief Tim McGirk was a close friend of Raza Khan and has written a short obituary remembering him and celebrating his spirit, courage and generosity.

In Your Face Baby: Photography the Bruce Gilden Way

In Photography on March 25, 2009 at 7:56 pm

This man works with Leicas, those cameras infamous for being ‘discreet’ and ‘invisible’.

This nonsense that has accompanied this lovely camera has misled and confused many a young and experienced photographer.

Watch Bruce Gilden – you don’t have to like his work, or him, but watch him. Using these so-called ‘discreet’ cameras, he is working direct and in-your-face.

Its aggressive, its based on pre-focus and pre-exposure,  and its a translation of his vision into specific images.

Forget being invisible, start being risky. Step out, and put that camera in your face and get close to the subjects. Be invisible by being insistent and professional and focused.

I am not a fan of Bruce Gilden’s work – not all of it at least, but he is an example of what I mean when I say that being invisible is about being part of the situation you are working in, and making sure you take your space in that situation.  Its not the size of the equipment, or the ’shutter noise’ and any of that nonsense. Its just the photographer’s determination to fit in and to take what s/he came to get.  With politeness and with the subject’s permission of course.  Of course.

more about “In Your Face Baby: Photography the Br…“, posted with vodpod

Kill The Fly On The Wall! Joel Meyerowitz At Work

In Photography on March 22, 2009 at 6:02 pm

It is one of the most persistent myths in photography – the photographer (and his/her equipment) so silent and discreet that they may as well be a fly on the wall.

It is believed to be a skill fundamental to street and documentary photography.

It isn’t. And no matter how often I tell students this they seem to forget!

Invisibility is a state of mind achieved largely by being visible and in the center of the situation until such time that your presence there is permitted and assumed and people begin to go about their actual business.

Here is Joel Meyerowitz working the streets of New York City. Far from discreet or invisible, he is in fact ‘in your face’ most all the time anticipating movements and the placement of objects (people, street signs, gestures. etc)

Having a small camera can help, and a quiet shutter is more polite, but they are not the key to this kind of work .

So forget your shyness, stick that short focal length lens on and charge into the crowd! (Speaking of which, I will post about Bruce Gilden’s technique as well – talk about in your face and taking risks!!)

more about “Kill The Fly On The Wall! Joel Meyero…“, posted with vodpod

The Dance of The Photographer: Gary Winograd

In Photography on March 22, 2009 at 5:42 pm

Gary Winograd’s technique reveals the tenacity, focus and consistent willingness to fail that lies at the heart of great photography.

We can hide behind our equipment but the fact remains that the secret to producing compelling work, or at least attempting to since most of us will never produce even one masterpiece (and Winograd produced dozens in his life time!), requires nothing more complicated than hard work, consistency, determination, and a willingness to spend hours out in the locations where one is searching for an image.

A rather pedestrian reality to the myth of great photography. I can’t think of any one of the masters who did it any other way.

Watch Winograd in action as he works a location to get a few frames – its obsessive, its filled with failed attempts, and it is risky.

And its fast! Using pre-focus techniques, hand held light meter readings (or maybe not!) Winograd works with a speed that at times defies belief!

more about “Garry Winogrand“, posted with vodpod

The Lost Art of Visualization: Some Old Man Explains

In Photography, The Daily Discussion on March 22, 2009 at 10:02 am

See it before you shoot it.

The image is made in the mind before it is captured on the frame or CCD.

A very basic lesson that I find few of my students remember these days with their super fast, 1000 auto focus point digital cameras and the infinite ability to just ‘fix it later’.

So here is some old man, perhaps you know him, talking about this issue.

( Full disclosure; I have never been a fan of Adam’s work, finding it rather overly technical and cold. But I respect his rigor, and his commitment to the craft, and the singular passion and belief with which he carried it out.)

more about “The Lost Art of Visualization: Ansel …“, posted with vodpod

No Pharaohs In The Modern World: The Liberal Muslim & Indian Democracy

In Journalism, Photography on March 14, 2009 at 11:40 pm

The stranglehold of the orthodoxy, especially in its political and religious form, has to be loosened and slackened. The answer lies in more and more Muslim communities moving towards democracy. There is no short cut to democracy. . . . There is no place for pharaohs in the modern world. (Mushirul Hasan)

Martha Nussbaum has had a deep and committed engagement with India – a land she calls ‘her second home’, for many years now.  This American philosopher with an interest in ancient Greek and Roman philosophy, political philosophy and ethics, has found a deep interest in modern India’s struggles with democracy and ethics.

Nussbaum is currently Ernst Freund Distinguished Service Professor of Law and Ethics at the University of Chicago, a chair that includes appointments in the Philosophy Department, the Law School, and the Divinity School. She also holds Associate appointments in Classics and Political Science, is a member of the Committee on Southern Asian Studies, and a Board Member of the Human Rights Program. She previously taught at Harvard and Brown where she held the rank of university professor.

Her latest missive on the situation in India comes as a bit of a surprise because it addresses a subject few have had the will to address; liberal Muslims confronting violence, discrimination and injustice, and yet choosing the path of the law, non-violence and intellectualism to confront it.

A new essay Land of My Dreams: Islamic liberalism under fire in India Martha Nussbaum offers a fascinating history of one of Delhi’s great liberal educational institutions, the Jamia Millia Islamia.  As Nussbaum describes it in her piece:

Jamia was born radical. Its curriculum emphasized the study of nationalism as well as the study of Islamic history and the Qu’ran; its admissions policy welcomed male and female, Hindu and Muslim; its pedagogy emphasized debate and contestation in the teaching of all subjects, including religion, denouncing the mere “passive awareness of dead facts.” The school had strong links with theorists of progressive education such as Bertrand Russell and Rabindranath Tagore and thus gave substantial weight to the arts and vocational education.

The piece is as much about the Vice-Chancellor of the institution, Mushirul Hasan, whose story, as Nussbaum points out, reminds us of 3 things:

First, the values we associate with classical liberalism-such as the defense of the freedom of speech, the freedom of conscience, and procedural due process-are not exclusively Western values. During the independence movement in India, they were reinvented by a colonized people who had seen just how little their Western masters honored such norms.

Second, these values are not tepid and centrist, as we sometimes hear, but rather, truly radical in a world of nations increasingly under pressure both from external violence and from internal quasi-fascist forces.

And finally, Hasan’s story shows that there is a distinctive and genuinely Islamic form of liberalism, long-lived and drawing inspiration from religious texts and their central concepts.

Unfortunately The Boston Review magazine allows people to comment on the essays they publish.  The reactions to Nussbaums’ piece stretch the realm of decency and coherency. I suspect that in the coming weeks the number of ‘comments’ consisting of slurs, abusive dismissals, sexist denigrations and outright insults against this scholar, philosopher, humanist and ethicist will only grow. These commentators do a disservice to not just Nussbaum, but to the very community that apparently think they are defending by abusing the writer and her works!

Martha Nussbaum is also the author of a book on the rise of Hindu fundamentalism and the threat to Indian democracy called The Clash Within: Democracy, Religious Violence, and India’s Future which was reviewed by Pankaj Mishra in the New York Review of Books

The ICRC Torture Report & The Search For The Truth

In Journalism, Our Wars, Photography on March 14, 2009 at 9:54 pm

Contents
Introduction
1. Main Elements of the CIA Detention Program
1.1 Arrest and Transfer
1.2 Continuous Solitary Confinement and Incommunicado Detention
1.3 Other Methods of Ill-treatment
1.3.1 Suffocation by water
1.3.2 Prolonged Stress Standing
1.3.3 Beatings by use of a collar
1.3.4 Beating and kicking
1.3.5 Confinement in a box
1.3.6 Prolonged nudity
1.3.7 Sleep deprivation and use of loud music
1.3.8 Exposure to cold temperature/cold water
1.3.9 Prolonged use of handcuffs and shackles
1.3.10 Threats
1.3.11 Forced shaving
1.3.12 Deprivation/restricted provision of solid food
1.4 Further elements of the detention regime….

This is the Table of Contents of the recently released ICRC Report On The Treatment of Fourteen ‘High Value Detainees’ in CIA Custody.

It is also clear and precise in its indictment, for example:

The allegations of ill-treatment of the detainees indicate that, in many cases, the ill-treatment to which they were subjected while held in the CIA program, either singly or in combination, constituted torture. In addition, many other elements of the ill-treatment, either singly or in combination, constituted cruel, inhuman or degrading treatment.

The tireless and determined Mark Danner of the New York Review of Books has written more on this report and it makes for compelling and anxious reading.

Senator Patrick Leahy, Chairman of the US Senate Judiciary Committee, has been speaking across the country trying to garner support for an investigation into the actions of the Bush Administration and its now nearly countless violations of American and International Law.  We, Americans and non-Americans, need to join our voices to his. In his own words, his actions are meant to:

One path to that goal would be a reconciliation process and truth commission. We could develop and authorize a person or group of people universally recognized as fair minded, and without axes to grind. Their straightforward mission would be to find the truth. People would be invited to come forward and share their knowledge and experiences, not for purposes of constructing criminal indictments, but to assemble the facts. If needed, such a process could involve subpoena powers, and even the authority to obtain immunity from prosecutions in order to get to the whole truth.

Whether this will come to pass, I can’t tell.  That he is at least demanding it gives me hope.

What Ails Photojournalism: Part IV

In Journalism, Photography on March 13, 2009 at 2:41 pm

(Continued…) Many predicting the death of the newspaper are wrong.  It will not die.  It will change.  The newspaper will become something different, its content will not compete with the internet, but complement it.  It will be read differently, and it will not just be on your mobile phone.  It will be everywhere, and all sorts of media will continue to play a part.  Video has many limitations, not the least of which is that it has to be seen end to end and anything longer than a minute or two is taxing and difficult to concentrate on on a tiny hand held device.

So there are a lot of issues and obstacles even in the new world.  Books are still around because they are cheaper, easier to carry, easier to store, easier to retrieve and share than anything technology has offered so far.  I am willing to bet that the book will survive a long time.

The sky is not falling.  Its colors are changing.

i think people like Anderson complaining about lack of editorial opportunities or credibility of amateurs are missing the point.

We are indeed facing change, but it is also an opportunity.  However, to find the opportunity we have to stop repeating the cliches of the camera industry or video industry, or those selling video journalism workshops and all the rest interested in selling us new toys.  We have to start to recognize that the economics has changed, that the previous outlets that kept us satiated are no longer able to do so for financial reasons.  that new toys, new software, sound along with pictures, is not the essential answer.  That media storm does not know what the future is going to be, that just because you have video, audio and text will not really make you a star.  Those who are doing better today are the ones who were doing better in the past anyways.  assuming a greater creative and editorial and also cost burden may make it interesting for a magazine/newspaper occasionally, but its an unsustainable model.  media storm stories cost a lot of money, and use a lot of resources, and take a long time to produce.

In the end, it is the big boys of news that will continue to thrive here.  And if you want to play with them, then you will have to fit into their structure somehow.

This piece sees photojournalism as an autonomous craft.  It is not.  It was from its birth intimately tied to the economics of publications.  When photographers challenged these they were left to starve.  Look at Eugene Smith’s career.  Now, finally, we are able to liberate ourselves from this stiffing, suffocating environment.  Now, finally, photojournalists can free themselves to be something beyond mere picture takers for ready-made stories or hacked together propaganda.  Its a brave new world complete with uncertainty and possibilities.

I say this as I sit here and stare into the void – confident that I have strong new ideas, scared that no one will value them, determined that i have no choice but to step into the void itself.  Your second reference about ‘tenacity’ was right on the mark.  Like any field where you pursue a passion a love and a need to be free of the machinery of the capitalist, you must be prepared to pay a heavy price.  Our societies do not value those who do not serve the interests of others, but merely their own whims, curiousities, loves and fears.

By the way, in conclusion; i am wrong in all that i say!

We are all wrong.  We cannot predict what will happen tomorrow.  We can only look at the facts in our face.  I am wrong.  I will be proven wrong and that is just fine.  What i am not prepared to do is to accept the incomplete justifications for known realities.  It is too easy and too unthinking.  Simply telling me that photojournalism is dead, long live citizen journalism, is nonsense.  There is no such thing as citizen journalism.  Citizens are not journalists – it denigrates the works of real journalists.  Citizens can only be bystanders, or witnesses to random events.  They cannot analyze, help us understand, nor can they be expected to follow up and follow through.  They cannot and will not investigate, pursue, search, question and create a context.

phew, and a good morning to you all!

asim

What Ails Photojournalism: Part III

In Journalism, Photography on March 13, 2009 at 2:17 pm

(Continued)…Photojournalists will have to liberate their minds from these constraints – the weekly magazine editor looking for the ’sensational’, and the printed page looking for the simplistic, to go after stories that are beyond news, beyond crisis, beyond the sensational and concentrate instead on the creative and the excitingly compelling.  Too many pander in the obvious.  Too many are purveyors of cliches.  I see so many photographers on your blog who continue to represent the world through the false exotic.  Steve McCurry too, with his recent work on Buddhists, carefully eradicated any evidence of the presence of the Han Chinese and the oppression of the Tibetans by the Chinese administration.  Instead, we received an idealized, fossilized, pre-18th century vision of the place.  Everything that would suggest our engagement with the current dilemmas facing Buddhism, Tibet etc. were just not there.  Cliches, false exotics.  They may have technique and such, but they lack story telling creativity and often just plain curiousity that could reveal new ideas and new ways of telling.  Furthermore, they have to stop ‘documenting’ the obvious that is in front of them.  For I am not talking about story telling as a method to layout photographs.  I mean the very ideas themselves – the issues and the subjects that are pursued, need to take a leap forward.

We have seen these changes in art, in literature, in poetry and such.  Yet, photojournalists young and old seem trapped in conventions, and prejudices.  they are offering variations to the same most of the time, rarely if ever a creative leap.

Why is this story idea shift important? Because it will allow us to engage a new community of people and work with groups, institutions, individuals and organizations far beyond that which we have so far.  Not that this is new, but it has to become a standard.  Photojournalism and photography schools are failing at this miserably.  Places like ICP produce hacks mostly, machine-tool photographers, me-too documentarians pushing out and working within structures of conformity.  Worse, they are never trained or educated to understand that there are markets outside of the editorial space.  Even I do not know this market, but I know that it is there.  It is more a matter of positioning yourself beyond the technicalities of photo making.

Ernesto Bazan, a photographer i believe you should feature on your site, has taken a very individual path to photography and such.  Workshops, his own publishing book, engaging students, a personal vision, a passion for the craft, a willingness to work in many different arenas, a talent to engage a wide range of people beyond the photo editor and the weekly magazine.  His career is a testament to the incredible opportunities available to professionals and creatives.  If you look at his work, his passion, you would not think that things are falling apart.  Rather, that there are more ways today to be a professional photographer and photojournalist than ever before!  That the old standards, the old outlets, are not necessary if you are creative, driven and intelligent enough to articulate to others.

So Anderson lamenting the decline of editorial sales is not related to the rise of amateurs.  The amateurs are in fact not competing with the professionals.  Again it is not as if they are a competitive alternative.  But, that editors are choosing to do away with a requirement of quality and rigor in order to save cash.  And why would i say that? Because where publications have the funds, they choose to work with the professionals consistently.  Look at the New York Times Sunday Magazine – Kathy Ryan still have the budget, and she works with the best she can find.  Until her budget is cut, and then things will change.  But she is not trawling Flickr.  But the news pages maybe, Time magazine is, but then again Time and Newsweek have lost their vision, their raison d’etre so to speak and since they are now mostly run by MBA hacks, there isn’t a soul there that can understand how these magazines need to change.  MBAs work with formula’s and strategies driven by an obsessive slavery to ‘customer preferences’.  This is one of the great falacies of our time.  Where customer preference is important, so too is creativity and offering an interesting product.  Something Apple understands, or peer-to-peer designers do too :) (ok, poor analogies, i admit :) ) Our newspapers are run and controlled by people who see news as just a product, apply MBA tools and spreadsheets to ‘improve sales’, assume that if you pander to the infantile and the consumerist, sales will increase.

And yet, The Economist goes from strength to strength, and Time/Newsweek are weaker than ever before.  The Economist offers nothing fancy, merely pretentious high brow and often complicated and engaging news.  They too are a public magazine and yet have found a segment to grow and expand.  Newsweek is pandering to the useless and the empty for example.

These rends more than technology is what has displaced hard news stories and hard documentary journalism.

Our industry, photojournalists, do not want to face the realities.  Newspapermen/women do not want to admit their limitations.  It is easier to suggest, sexier and commercially more lucrative for many companies, to suggest that what we are facing is a tectonic shift in technologies of use.  This sounds like the internet bubble when the store front was to disappear and the internet to win all.  Well, guess what? That did not happen, the sky did not fall, brick and mortar companies in fact won that battle by adjusting and become smarter about the dual store front strategy and outlasted and out foxed most all the badly designed and poorly managed internet only firms.  Today, a new generation of internet firms have a solid real world foot print e.g. Amazon, which maintains of the largest and most sophisticated warehousing and warehouse management systems in the world.  The future is an amalgamation. (Continued…)

What Ails Photojournalism: Part II

In Journalism, Photography on March 13, 2009 at 2:15 pm

(Continued…) We have lost our love of the story.  We are no longer telling interesting stories.  In fact it could be argued that photojournalism today is basically middle class voyuerism.  It carries with it the stifling and infantile morality of a middle brow suburban family and attempts to deliver ’shock’ stories to titilate them into watching. Or it just reduces to historical and charter-tour cliches stories that could be rich, complex and eye-opening.

Just look at National Geographic – if its Iran, its Persipolis.  if its Bolivia, its the Antiplano.  if its Pakistan, its the Taliban.  Tiresome, boring, repetitive, predictable, uncreative, uninteresting stories about some of the most interesting and evolving countries in the world!  Even the formulas and mechanics of photojournalism are boring and predictable.  This magazine refuses to go and explore places in new ways, to produce angles that are creative and interesting, and that challenge our thining and ideas about a place.  Is Persipolis really all that one has to stay about Iran today? This incredibly complex and incredibly interesting country is left silenced!

The Missouri School beliefs are so old and hollowed that they produce not more than what i call comic book photojournalism.  By the way, I was at the MPW in 2002 so i have seen this personally.  Look at the recent multimedia piece that MediaStorm did called ‘Common Ground’ – this is so trite, so simplistic, as to be boring and predictable from frame #1.  Family packing, family walking to car, family hugging – its like a linear story book, with pictures that attempt to create nothing interesting, to provoke no thought or make any argument.  Its is a join-by-numbers photography, which after a while, the viewer can start to complete herself!!  The picture illustrate the obvious!

Someone once said that Bertold Becht’s work was never about pathos or emotions, but always about the need to provoke though and make an argument.  That is a good comment about the state of photojournalism.

And keeping true to the argument for the need for the particular; photography has been growing in areas that we have not been paying attention to.  More photo books are being published and bought, more workshops are being held, more people are broadening their repertoire of works and finding creative ways of funding their projects.  That is, the changes being bought about today are in fact creating some powerfully interesting responses.

Not the least of which is – people are starting to tell new stories in new ways.  And i do not mean multimedia here – multimedia is merely a mechanism that can never hide the banality or predictability of a subject.  It is a means to an end, but if the end if poor, no amount of flash and dash will save anything.

We have to remember that it is newspapers that are turning increasingly to amateurs.  It is not a ‘rise’ of the amateur.  The amateur picture has been found to be mostly free, easily found, and little paid for.  This is its reasons for popularity.  There is no such thing as ‘an army of amateurs’ – these are rhetorical constructs that have no meaning.  What there is in fact is an ‘army of photo editors with no money and personal careers to save’ who have desperately tried to hide the fact of their economic and editorial castration by distracting us with false arguments of ‘citizen’ journalism, an euphemism for ‘cheap’.

Our only hope (i speak of editorial photographers, photojournalists etc. and not of fashion, commercial and other photographers who by the way are doing just great what with all the increase in advertising as a business) is to accept the challenge of the reliance on the amateur work to produce work that could only be done so by a professional.  of course multimedia will be an important part of this – it is a tool of course – and allow us to tell great stories in new ways, but i personally believe that the challenge we face is the need to tell new stories, better stories, from new angles and to overcome our class, nationalistic, religious and other prejudices to find broader and more engaged human experiences to share.

Now, I am not so naive to believe that the latter recommendation will change the state of photojournalism and its economics.  Far from it.  What I do believe is that by broadening, extending our ideas of what photojournalism is about, it will allow us to free ourselves from the constraining mediocrity of the typical photojournalism end game i.e. publication in a magazine like Time or Newsweek.  Too much of what passes for photojournalism is done with the belief, mostly hidden, that the customer is the magazine editor, that the structure is the linearity that is necessitated by the printed page.  Photojournalists and news photographers shoot for a sheet of paper.  Their universe of individuals and characters is restricted mostly to editors, writers, photo editors, their assistants, other photographers and hangers-on.  99% of photojournalism magazines, festivals, competitions and such caters to itself.  It is one of the more closed artistic/non-industrial crafts in world.  Our language, our references, our aethetics, or ideas of what is ‘photojournalism’ and what is not is so limited, has change so little in the last 50 years, and has such little relevance or interest outside of its own community, that we have stagnated.  Visa Pour L’image or Look3 may as well be a gathering of astro-turf salesmen.  There will always be a few curious outsiders, but they are not really that important to the event, nor are they engaged to carry something away from them. (Continued…)

What Ails Photojournalism: Part I

In Journalism, Photography on March 13, 2009 at 2:13 pm

A long suffering friend received this long, winded discussion from me as his breakfast treat – dated July 2008 (and not November 2007 as I had previously stated!), I let loose some thoughts about photography and photojournalism and the worries that we were all dealing with.  It was written in a single breath and hence carries within it errors of insight and judgment.  But I think it remains interesting enough, particularly now when we are so desperately trying to understand why the world of the photographer is changing.

I apologize.  Over 4 cups of coffee I had to get these thoughts down.  A recent piece in the Columbia Journalism Review created an avalanche of thoughts that i had to get down.

See here: http://www.cjr.org/essay/flickring_out_1.php

Anyways, this is a long commentary, at times rambling, so i apologize and ask that you proceed with caution  :)

The Columbia Journalism Review piece was interesting.  I have kept up with a number of publications that come out from my Alma Matar so I had seen this piece earlier.  As with many such pieces, I was once again left with a sense that they tend to say things a bit too obviously, and with an exaggerated sense of prescience that may in fact not be warranted.

What I am saying is that perhaps the situation is not all that bleak.

First, you notice that the piece concentrates on daily news stories only.  In fact, it is one of the errors of this piece that it conflates the works of a Kratochvil with those of a local newspaper photographer.  And most such pieces continue to speak of photography as one monolithic craft, which in fact it is not.  Even the much read Vincent Laforet piece made this mistake, to say nothing of the banal suggestions he offered at the conclusion of it.  I was dismayed more by the reactions of readers who actually thought they walked away with some insights :)

But, I digress.

We must speak of photography in the particular.  Daily news photographers are facing a threat from amateurs and local professionals who the latter who have shown that they possess the same tools and the same drive.  Particularly when it comes to the coverage of international i.e outside USA events and such.  But there is a false belief that this is happening because of the emergence of camera phones or multimedia.  This is an example of the cart before the horse, an example of incomplete evaluation of an industry and an insistence on not seeing the real driving forces behind the decline of news, and of photojournalism as a related part of the news industry.

The first assault on daily news photojournalism emerges far before the arrival of multimedia and take places in the form of economic cutbacks and the economics of wire photography.  Wire agencies were the first attack on the staff photographer.  Reuters, AP, AFP and others argued that their local stringers, could work harder, for cheaper, and get the needed images without the newspapers having to send out their staff.  Over time this in fact has become the model.  We have to keep in mind that major American newspapers started cutting back overseas bureaus and reducing photographic staff way before any multimedia capabilities arrive at our doorstep.

Russell Baker writing in the new york review of books pointed out in a piece about the decline of the newspaper as we know it that:

“Journalism was being whittled away by a Wall Street theory that profits can be maximized by minimizing the product. Papers everywhere felt relentless demands for improved stock performance. The resulting policy of slash-and-burn cost-cutting has left the landscape littered with frail, failing, or gravely wounded newspapers which are increasingly useless to any reader who cares about what is happening in the world, the country, and the local community. Cost-cutting has reduced the number of correspondents stationed abroad, shriveled or closed news bureaus in Washington, and crippled local reporting staffs which once kept an eye on governors, mayors, state legislatures, small-town rascals, crooks, and jury suborners. It has also shrunk the size of the typical newspaper page, cutting the cost of newsprint by cutting news content.”

you can read that piece here: http://www.nybooks.com/articles/20471

There was a transformation in the newspaper industry in the 1980s.  Most all the major newspapers went from being family own operations to publically owned or privately supported businesses.  And with that transformation came the primacy of profits over responsibility, economics over effectiveness.  It also became a mantra in the USA that the local trumps the foreign; readers were increasingly narcissistic and wanted to read about their class and its petty needs (fashion, holiday travel, accessories, technology toys, cars, real estate, design and interior decoration) and about gossip (celebrity).

Hence, there has been no reduction in the fees and payments made to photographers working to produce fashion, style, food, architecture, interiors etc.  As more and more magazines have offered more and more space to such works, these photographers who focus on such work, have and are doing just fine in soliciting major fees and in fact even taking their works into galleries.  There the problem is that there is a large nunber of competitors, but the wons that come out in front demand very high fees.

But foreign news and photojournalism (stories of pathos and emotion) have lost out, because the newspapers are not interested in selling or representing this.  The principal fall of such work comes from a belief that it just does not sell well.  And advertisers too are reluctant to allow their ads to sit besides stories of HIV victims in Zimbabwe for example.  When a pharmaceutical company pays a magazines hundreds of thousands of dollars in ad revenue a month, it can without trying convince editors that that story about kids suffering from the after effects of some depression drugs would not be a good idea to run.

My point being – there are powerful economic forces at play that have resulted in the decline of photojournalism.  These same forces compel editors to seek cheap and free images of sites like Flickr.  This is a cause and effect debate; flickr has not led to the decline of photojournalism, but in fact the decline of budgets as led to the desperation to use flickr, wire agencies, local stringers etc.  Another proof of this is that day rates for photographers have not increased in the last 10 years at least because the budgets created from the board do not allow editors to do this.

So Allisa Quart’s piece misses all this that is taking place in the news industry, and that has a direct impact on all facets of the industry.  It is as if we photojournalists have our heads in the sand, and in fact continue to falsely believe that multimedia will save news photography.  It will not.  Amateurs are not replacing professionals, but in fact have become the last resort of editors desperate to find content for little money.  There are rare situations where the camera phone has given us images we would not have otherwise seen, there is no doubt.  And this is to be celebrated but not considered a threat to professionals.  Abu Ghraib being an example.  Such situations are rare and far between and cannot replace the need for the daily.  Furthermore amateurs do not commit themselves to a story, they merely do the convenient as it presents itself to them.  Professionals will always been needed to pursue, commit, investigate, take risks, go the distance.

Photos are not journalism.  Journalism is an endeavor with a commitment to communal and social responsibility.  It is a public service with the objective of keeping check on abuses of power, the rights of the individual, the protection of the well fare of the community, the exposure of the illegal, the tracking down of the downright unjust.  I said this before in a lightstalker post, journalism will rely on amateurs the day it itself become amateurish.  It is not multimedia that will save journalism or photojournalism, but a commitment to quality and a commitment back to the public service.  We are far from this realization.

So what next? This is not just a tirade.  There is another underlying reason why photojournalism is dying, and that we are still not prepared to confront.  The reason is that most photographers and photojournalists are purveyors of cliches and repetitive, predictable stories.  Mental asylums, prostitutes in third world countries, drug addicts in third world countries, the homeless, street kids, dying HIV/AIDS patients in Africa, polluted cities, Latin American migration pathways, KKK, burqa/taliban/fanatics in Islamic countries, China pollution, China growth, China mingyons, China modern, China rich, India AIDS etc. etc.  One could create a Chinese menu of a couple of pages to represent a belief amongst photojournalists that photojournalism is about pathos and emotions, and that there are some ’subjects’ that are what it does. (Continued…)

Gaza On My Mind

In Israel/Palestine, Journalism, Our Wars, Photography on February 17, 2009 at 11:16 pm

Wikipedia has an entry about Professor Ammiel Alcalay.

How cool is that?

It says that he is ‘…an American, scholar, critic, translator, and prose stylist. Born and raised in Boston, he is a first-generation American, son of Sephardic Jews from São Tomé and Príncipe. His work often examines how poetry and politics affect the way we see ourselves and the way Americans think about the Middle East.’

He is also the author of one of the most amazing books I have read in the last decade – Memories of Our Future.

The Midwest Book Review said that it was “An outstanding anthology of essays surveying the complexities of Mediterranean cultures; the diverse, changing space of the Balkans, Middle East, and North Africa-areas of diasporas, dislocations, and genocidal exterminations provoked by nationalism and religious fanaticism. Of special interest are his observations and analysis of the Israeli/Palestinian confrontation, Arab/Jewish poetics, and Jewish identity in America.”

Professor Alcalay (he is a Professor at the City University of New York), recently sent me a poem he wrote while thinking about Gaza and the horrors being unleashed there.  I was in Gaza when I first read it, and I asked that he allow me to share it with the rest of you.  So I am reprinting here.

The poem recently in the appeared in the CUNY Graduate Center Advocate magazine’s February 2009 issue (http://gcadvocate.org)

GAZA

(after Mahmoud Darwish & Yehezkel Kedmi)

Skin can be torn to shreds and melted anywhere, houses dissolve and earth ripped apart below your very feet. But can the sea itself sustain a wound?

The name of these talks cannot be Madrid or Oslo but only Gaza because politics are politics and Washington and Tel Aviv propose velocity can drown out consciousness, extinguish the memory of life and the meaning of home.

Home is where the sea goes but there is no sea in Gaza.

How long can the fishermen mend their nets?

How many nets are even left when walls descend from a sky with no
horizon and the beach is only one more part of the prison yard?

How many trees are left in the minds of the wise and caring elders,
how many intricate hems left in the battered fingers of loving mothers,
searching for water day after day, or another cup of flour or rice to keep
their meager tables grand and sate the groaning chasm in the bellies of their beloved? How many more unborn can suffocate waiting to get across an imaginary line the earth still refuses to recognize? Why do madmen keep sending boys to do the job they thought they’d done for generations, extinguishing the very breath of their souls as they keep the great illusion
alive, the great illusion that this is war and not just slaughter, plain and simple?

There is no sea in Gaza and the only waves left signal a final light, the flash
of burning flesh in white phosphorus. Once I saw some men in Gaza waiting patiently by the side of the road, waiting and hoping. Waiting to work, hoping
to feed their children. Some still wait and others don’t. But the olive trees
and orange groves and fishing nets grow upside down in an endless sea
of blood about the sky above our heads and on some truly clear nights
you can hear them flow within the veins behind your eyes.


Ammiel Alcalay
January, 2009

My most recent work from Gaza is now also online. I am very pleased and honored to present it alongside Professor Alcalay’s work.  That the poem was released to me just as my images were ready to be shown was a beautiful coincidence.

This work was funded by a generous grant from the Pulitzer Center On Crisis Reporting in Washington D.C.

You can see the main gallery of images here: Gaza Undone

And a series of portraits I made of some victims of the recent conflict here: Portraits of Loss


To The Last Man: Fighting The Wrong War in Afghanistan

In Journalism, Our Wars, Photography on February 10, 2009 at 1:10 pm

Perhaps the most illuminating moments in Eroll Morris’s documentary The Fog Of War: Eleven Lessons from the Life of Robert S. McNamara is when Mr. McNamara begins to offer his explanation for why the war in Vietnam went so terribly wrong.

Aside for the detailed discussions about the escalation of the conflict due to domestic political issues, he makes the following statement which I believe best captures why nations, any nation, can find itself mired in a conflict and unable to resolve it.

Let me quote Robert S. McNamara himself

“Let me go back one moment.  In the Cuban Missile Crisis at the end I think we did put ourselves in the skin of the Soviets. In the case of Vietnam we did not know them well enough to empathize.  There was total misunderstanding as a result.

They believed that we had simply replaced the French as a colonial power and we were seeking to subject South and North Vietnam to our colonial interest, which was absolutely absurd. And we…we saw Vietnam as an element of the cold war and not what they saw as…a civil war.”

Robert S. McNamara then discusses how he later met with his ‘former enemy’ – on a trip to Vietnam in 1995 he meets with the former foreign minister of Vietnam, Tran Van Lam, and quickly getting into a heated argument which went a something like this (as told by Mr. McNamara in the film):

TVL: ‘You were totally wrong! We were fighting for our independence, you were fighting to enslave us!

RSM: Do you mean to say that it was not a tragedy for you when you lost 3, 400,000 of Vietnamese…killed…what did you accomplish?

You did not get anything more than we were willing to give you at the beginning of the war!

TVL: Mr. McNamara, you must have never read a history book! If you had you would have known that we were not pawns of the Chinese or the Russians….did you not know that?

Don’t you know that we have been fighting the Chinese for over 1000 years?

We were fighting for our independence!

And we would fight to the last man and we were determined to do so! And no amount of bombing or US pressure would have ever stopped us!

President Barack Obama is about to escalate a war in Afghanistan that I fear will prove once again to be the wrong war.

He and his administration have, without blinking an eye, adopted the language and rhetoric of the discredited Bush administration about the reasons and goals of the conflict in Southern Afghanistan.  President Barack Obama, much like his predecessor, claims to be fighting ‘the war against terror’ and supposedly ‘Al-Qaeda’ forces in Afghanistan, when in fact what he faces is a large scale Pushtun nationalist insurgency against the US-backed minority kleptocracy that current sits in Kabul.

Since 2001 the Bush administration and its allies in Kabul have attempted to convince us that the ongoing conflict in the country is against Taliban and Al-Qaeda forces, most of which are finding safe havens in Pakistan.  This has been the public face of America’s policies in the country, though it is evident to many who travel and work there, that it hides as much as it reveals.

Under US tutelage Afghanistan has become one of the world’s largest narco-state, with crime and criminality the principal means of business, law and life.

With few if any reporters working independetly in the Southern Afghanistan region, it has been impossible to get voices outside of the official American/NATO ones.  However, one individual who has spent considerable time in the country, as both a reporter and a social worker, is Sarah Chayes.  She was a correspondent for National Public Radio from 1997 to 2002 and later founded an agribusiness cooperative in the country.  Her stark and honest assessment of the situation in the country comes from direct experience in the region where the insurgency is most extreme.

Here is what she had to say in a piece she wrote for The Boston Review called ‘Days of Lies and Roses: Selling Out Afghanistan’

Our first error was to subordinate every other concern to a cowboys-and-Indians-style hunt for al Qaeda and the Taliban leadership-a hunt that has thus far proved singularly fruitless. We collected a posse of former anti-Soviet commanders who had been repudiated by the Afghan population for their rapacious and bloody-minded behavior after the Soviets withdrew in 1989. Because we believed them essential to our hunt, we installed these thugs in positions of local power, bolstered them with the priceless weight of our partnership-made unmistakable to ordinary folk by the uniforms we issued to their militiamen, the guns we armed them with, and the bricks of cash we delivered to their homes and offices.

And she a few lines later adds the devastating conclusion that:

But in my view it is precisely this decision to ignore good governance and cultivate criminality that has led to the disastrous security conditions in the Afghan south. The independent-minded Afghans relinquish sovereignty to a state apparatus reluctantly, and only for as long as the state can either cow them or be seen to be acting in their practical interests. The current Afghan government is doing neither. The only obvious alternative-or beneficiary of a protest vote-is the Taliban.

The Obama administration is walking in to the wrong war.  Rather than recognize that nearly 7 years of rape and pillage of the lives, livlihood and welfare of the people of the Pushtun people of the South by a group of once anti-Soviet warlords is fueling a rebellion, they prefer to sink their heads in the quicksand of ‘the war against terror’.

Nothing that Mr. Gates has recently said, or President Obama parroted, acknowledges the complexity of the situation on the ground in the country.  There is talk of sending more troops, or the continuation of the bombing campaigns in the Southern provinces and Pakistan that are killing many, many civilians, and many other mind numbing regurgitations of ‘terror networks’ and ‘havens’ and ‘flushing out’ Al Qaeda and what not.

Even the Swat rebellion of local militants against the Pakistani government and the heavy handed presence/response of the Army is lumped into the broader ‘Taliban/Al-Qaeda’ collective.

There is a collective silence about the situation in Southern Afghanistan, and its fall out in Pakistan.  Writers, journalists, intellectuals and others seem oblivious to the fact that a people live in these areas, and that their voices need to be heard and engaged.

Instead, there is a determined effort or ignorance that insists that the entire region is ‘infested’ with terrorists that deserve little more than more American bombs and more  troops.  We insist on seeing the entire region and its people only through the prism of American foreign policy myopia’s – as we did in Vietnam, and refuse to see how the locals see the war.

In an extensive piece in the New Left Review called ‘Afghanistan: Mirage of a Good War’ writer Tariq Ali had this to say:

The argument that more NATO troops are the solution is equally unsustainable. All the evidence suggests that the brutality of the occupying forces has been one of the main sources of recruits for the Taliban. American air power…is far from paternal when it comes to targeting Pashtun villages. There is widespread fury among Afghans at the number of civilian casualties, many of them children. There have been numerous incidents of rape and rough treatment of women by ISAF soldiers, as well as indiscriminate bombing of villages and house-to-house search-and-arrest missions.’

The Afghans, particularly the Pushtuns, have been resisting imperial occupation of their lands for centuries.  This current insurgency may have more modern day causes, but it is a direct lineage of a battle for autonomy and independence from foreign invaders that the Pushtuns have fought repeatedly and are fighting again.

The Americans think that this is one of the many battles in ‘the war against terror’.

The Pushtuns however are not fighting this war.

There is a Pushtun nationalist insurgency in the works.  It is being actively supported by Pushtun communities residing in Pakistan. It has been fuelled by the rapacious and criminal regime that currently sits in Kabul and has used its position to not only pillage the country, but enrich a few, and carry out ethnically defined pogroms and acts of revenge for the last 7 years.

And the USA has been funding this.

The war begins in Afghanistan and not in the ‘havens’ of Pakistan.

And it can only end there.

President Obama is stepping into his first quagmire.

We are about to once again fight the wrong war.

Gaza Diary: January 30 2009 10:33 PM

In Israel/Palestine, Journalism, Photography on January 30, 2009 at 8:35 pm

Are you from Pakistan?

I am not sure how he knew for we had not met nor spoken to each other.

I was just about the get up to leave Al-Awda mosque in Rafah, Gaza when a man sitting behind me introduced himself and asked if I was from Pakistan.

How did he know? Why did he think so? Nothing about my appearance that day – I in my conventional trekking pants and checkered shirt, suggested my background.

How did he know?

The way you said your namaaz, specifically the way I said the final salaams (face turned right, and then left) was different from the way they did it here in Gaza and he had only seen that method when he had lived in Pakistan some years earlier.

Here, the told me, you wait for the Imam to say both salaams (left and right) before the congregations follows.

In Pakistan, we do so at the same time as the Imam.

Yes, indeed, I am from Pakistan – a Kashmiri born in Pakistan in fact.  He smiled, and vigorously shook my hand and said in near perfect Urdu ‘Ap say mill karr bahoot khushi hoey!’ – ‘It is a pleasure to meet you!’

I was taken aback! It was the last thing I had expected to hear – Urdu, Pakistan’s national language – spoken here in the heart of a Gaza refugee camp.

This was back in 2004.  Since then I have met a number of people in Rafah who speak a little Urdu and love to practice it whenever they meet me.

Many Palestinians had been allowed to travel to Pakistan after the Olso accords.  Policemen, doctors, physical therapists, accountants, engineers and others spend a few years in the country and learned a little of the language there.  They had been welcomed there, appreciated the support that they saw in the country for their struggle, and obviously felt at home there.

At a local physical rehabilitation center there was even a small club of Urdu speakers to which I of course was immediately made a member.

And again, on this recent trip, I continue to receive warm welcomes from people when I tell them that I am originally a Kashmiri from Pakistan.  There is a relaxing of attitude, a clear and obvious sense of camaraderie, a dissolving of some of the distance that exists between a foreign photographer and a Palestinian from Gaza. There is a look of recognition and gestures that suggest that they believe that I recognize something of me in them too.  And their struggle and their predicaments here in Gaza.

That since I am a Kashmiri, another region struggling for its identity and liberty, and a Pakistani, a country that has argued for the rights of the Palestinians, and of a Muslim background, that I to some degree understand who they are and what they are.

I can’t say that I actually offer all this to the Palestinians.  But I know that I love to speak Urdu in Gaza for the simple reason that it is the only place in the world where I can call myself just Pakistani – not Kashmiri/Pakistani/American/Swede etc. and not have it become a fact that taints you in the eyes of the other.

Perhaps the Palestinians like to speak it because it reminds them of a time of hope when the new possibilities offered by the Oslo Accords were to be prepared for in Pakistan.  Today none of those possibilities exist as the accords have been betrayed.

But the language they heard as they dreamed their dreams in a far away land is perhaps the only reminder of that special time so long past and the excitement and joys that had accompanied it.

I love to speak Urdu in Gaza.

Gaza Diary: January 24 2009 18:00 PM

In Israel/Palestine, Journalism, Photography on January 24, 2009 at 5:01 pm

The water pipe has many names.

In the balkans it is called a ‘lula‘ or ‘lulava’.

In Egypt and the Persian Gulf it is often referred to as a ’shishe’.

In Iran it is called a ‘ganja’ pronounced as ‘ghelyoon’.

In India and Pakistan it is called a ‘huqqa’.

In the Palestinian Territories, the Levant, Iraq, Jordan, Greece, Turkey, Azerbaijan, Armenia and Israel, it is called by the beautiful name of ‘narghile’- a word that has its roots in sanskrit.

But I doubt if it has ever been called a weapon of defiance.

In 2003 I decided to rent an apartment in the city of Rafah, Gaza and document the lives of the people living along the border with Egypt. These mostly refugee neighborhoods were under assault from Israeli armored bulldozers and tanks – all part of the construction machinery being used to build the steel wall along the Philadephia Corridor – the code name the IDF used to describe the stretch of land it controlled between Rafah, Gaza and the Egyptian border.

Today it is the stretch of land that is being used by the Palestinians for the construction of tunnels, and the area the Israeli Air Force concentrated on as it attempted to destroy these tunnels.

One afternoon as I walked around these neighborhoods photographing displaced families, destroyed homes and the bulldozers working the area, I ran into a group of Palestinian men preparing to sit and smoke a narghile.

They had spread out, in sight of a group of Israeli tanks protecting a bulldozer demolishing yet another Palestinian home in the area, a small blanket on the edge of the construction area, but within the 100 meter ‘no go’ zone the Israeli’s insisted on enforcing between the steel wall and any Palestinian building or person.

The men invited me to join them.

I hesitated, knowing full well that within minutes the tanks would approach this group of men and either threaten them or simply shoot at them. But I did.

And sure enough, before we had managed to take our first few puffs of the narghile we saw the tanks starting to move towards us to investigate. We were soon forced to pack and leave.

When I asked the men why they had chosen to smoke there where they were sure to provoke the Israeli’s they laughed. To me it had seemed a careless act of bravado. I suspect that it was also a small act of defiance – to be where the Israelis had warned them not to be.

Last night in Gaza City, I went out for a narghile with some young Palestinians I have come to know while working here documenting the aftermath of Israel’s Operation Cast Lead.

We sat and talked about ordinary things. The Palestinians always ask me the most ordinary questions; how do you spend your time with your wife? What do you do when you are not working? How do you play with your daughter? What games do you enjoy?

In turn, they tell me about their most important aspirations, and I am always struck by the ordinariness of them; The desire to find a good wife. The hope of finding a job that will bring them financial security. The hope of children, many children.

Ordinary things that over a narghile become the thing of dreams. And the water-pipe, a small act of defiance in the face of the incarceration and deprivation of life in Gaza.

An object that enables pleasures still available to the people here; companionship, conversation and the laughter of friends.

And in the aftermath of the horrors of this last confrontation with Israel, a small act of living life, a small act of defiance.

Gaza Diary: January 22 2009 14:25PM

In Israel/Palestine, Journalism, Photography on January 24, 2009 at 11:58 am

On the Getty Images archive you can type in ‘Gaza Destroyed’ and retrieve over 5,500 images to select from.  If you run the query ‘Gaza Funerals’ you will get back over 7,000 images.  I was unable to check the Corbis archives because at the time of writing this entry their site was undergoing maintenance.  But I am confident that I would find a similarly large number of images for both the queries above. 

The challenge for a photographer arriving in Gaza is that s/he is walking into a place that has been consistently and extensively photographed for decades, and that there are many fine, talented and professional Palestinian photographers who carry out this task for their various agencies.  In addition, some of the best and most talented international photojournalists have also made Gaza the focus of their work.

I have arrived in Gaza in the aftermath of Israel’s most recent military operation against the region, Operation Cast Lead.  And I find that though the scale of this latest venture is larger than anything I can remember from my previous travels to Gaza, its impact and consequences are very familiar. 

The official numbers state that over 1,300 people have been killed, of which it is believed that nearly 400 were children, about 50,000 made homeless, and over 5000 left seriously injured.

I arrived in Gaza just as the cease fire had been declared and I had been immediately struck by how familiar it all seemed.

The day before as I stood on the Egyptian border with Rafah and watched Israeli jets dropping their payload on buildings and tunnel construction sites I was unsure of my decision to proceed.  Cowardice has been my best friend and protected me from many dangers. 

Why would I not listen to it now?

My first trip to Gaza was in 2003.  I then returned and continued to document the situation here, particularly in Rafah, Gaza, in 2004 and 2005.  The settlers were still in Gaza then, and so were activists from the International Solidarity Movement, and the armored bulldozers and their accompanying tanks that were constructing the massive steel wall along Rafah’s border with Egypt. 

Home demolitions were frequent along the Rafah border as bulldozers tore down Palestinian homes to make way for this steel wall.  Tank patrols would terrorize residents living along the border, and there would be frequent firing into these neighborhoods resulting in deaths and maiming of residents.
 
As a photographer I documented my fair share of funerals, Hamas marches and families salvaging their belongings from the ruins of their destroyed houses. 

And now, as I walk through the devastation in Gaza from the most recent Israeli operation, I am struck by how familiar and how similar it all looks.  My photographs from this morning look little different from those I took back in 2003, 2004 and 2005!  In fact, a simple re-edit of the captions of my previous work and I could convince you that the photograph was taken just yesterday!

The scale is different.  Absolutely.  But the visible consequences are the same as: dead bodies and lost lives; destroyed homes and displaced families; angry funerals and political exploitation; protest marches and armed men promising revenge; physical destruction and families trying to rebuild. 

We have been here before.  We are here again.

As I walk through Gaza with my little camera in hand, and around me scramble some of the world’s finest photojournalists capturing yet more of what we have already known and seen, I am desperately trying to find my own voice to this story.  And it is not helping that I know that in the not too distant future there will be yet more confrontations, and more military operations, and more funerals, and marches, and destroyed homes and displaced lives. 

The cycle repeats itself.

Is there a way to stop the images from doing the same?

The Most Dangerous Nation

In Journalism, Our Wars, Photography on January 11, 2009 at 4:32 pm

The obsession with things ‘Islamic fundamentalist’ and ‘Al Qaeda” has been turned into a veritable multi-billion dollar industry and this despite the very little concrete and independently verified evidence to suppor the many claims of underground ‘Islamic/Al Qaeda’ cells and networks.

The Pakistanis are of course very much involved in this business, particular many of our journalists, and intellectual writers who find an easy audience amongst the ‘powerful’ in Europe and the USA.  The vast majority of the claims made by these journalists and writers are of course unexamined, unchecked and what is worse, unverifiable.  They are however writing for papers as diverse as The Christian Science Monitor, Asia Times, Time Magazine, Newsweek and others.  And when they are not writing, they are feeding and ‘guiding’ foreign journalists to where these stories can be ‘excavated’ and supported.

I had earlier written a post called ‘Only Interesting If Its Madness’ about how American newspapers and magazines have found that selling stories about the madmen of the Middle East and Islam is big business because it confirms America’s fears and paranoias and nothing sells better than that.

And the Pakistanis are unfortunately thick in the middle of this business, churning out articles, essays, research and what not based on the most species of information and the most biased of sources.  But it reels in dollars, and convinces otherwise intelligent international journalists and intellectuals who are also of course tied into the entire industry of fear.

But perhaps what worries me most is how little journalistic practice is involved in the writing and publishing of these pieces on ‘Al Qaeda’ or ‘Islamic terror’.  No one is asking about the sources, or bothering to confirm facts. It is as if none of the usual standards of journalism apply.  What matters is that we just rush out and print it.  From Carlotta Gall’s shameless piece on the front page of the New York Times simply regurgitating then Pakistan military government’s claim that ‘Al Qaeda’ had killed Benazir Bhutto at a time when the body parts were still lying around on the streets, to more recent piece on Pakistan by David Sanger suggests that we have now suspended our intelligence and common sense just to get our ‘by line’ printed on the pages of publications.  At no point was there a challenge, a questioning of the source, a scepticism that is crucial to the definition of journalism.

When it comes to Pakistan, no one is asking any questions as long as they confirm that it is ‘mad’, that it is ‘on the edge of an Islamic takeover’ and that it is ‘dangerous’.  And sadly, some of our supposedly finest minds are in on this game, sending out stuff that at times is staggering to read.  We are feeding the beast, perhaps seduced by the easy association with those in ‘power’, with their attention and their ability to make us, small post-colonial minds, feel ‘important’ and relevant.

Not a single major Pakistan intellectual, writer, artist or politician has challenged the story of Pakistan that has been constructed in international media.  Not a single person seems to want to say ’show me your sources’, or investigate where certain stories have emerged from.  We are all just going along for the ride.

And all this despite the complete lack of credibility that is the real reputation of mainstream American journalism today.  Just read Bill Moyer’s talk about it. For after all, all the main newspapers in the USA, the same papers that repeatedly tell us that they are on the front lines of the democracy and the protection of the citizens of the country that they serve the interest of the public (when in fact they are private, profit making enterprises), failed to ask a single sceptical question of the American administration on its rush to war in Iraq.

An entire intelligence community was bent and mutated to serve the needs to go to war.  It is now a well known fact that evidence was falsified, informers were paid, dissenters were silenced, and lies disseminated to newspapers and journalists to build a care for pre-emptive war against a nation that was not a threat to even its neighbors, let alone the USA.

Some more articulate comments on this issue come from the tireless Mark Danner

Iraq: The War of the Imagination

The Secret Way To War

Or Michael Massing’s work more specifically on the failures of American journalism and the shameless pandering to nationalist and patriotic fervor that led them to ignore facts, distort evidence and simply close their minds to doubts they later claimed they had, so that they participate and profit from the mindless march to war and the destruction of millions of lives and a nation.

Now They Tell Us

Unfit To Print

The End of News

And there are many more pieces of analysis of the failure of American’s so-called ‘best’ newspapers and their finest.

And now, despite this stain on their record, despite the fact that the intelligence community is completely discredited and the administration too, the same papers and their editors continue their march, turning their eyes to Pakistan yet again.  Here is a new piece in this weeks New York Times Sunday Magazine by David E. Sanger called ‘Obamas’ Worst Pakistan Nightmare’.

And just a few lines into the piece, we start to get a good idea of the sources of Mr. Sanger’s alarms and worries.  For example, ‘…members of the federally appointed bipartisan Commission on the Prevention of Weapons of Mass Destruction Proliferation and Terrorism made it clear that for sheer scariness, nothing could compete with what they had heard in a series of high-level intelligence briefings about the dangers of Pakistan’s nuclear technology going awry.’

Sounds familiar does it not? A commission appointed by the very administration that lied to us about Iraq is an opening source of Mr. Sanger’s piece!

A few lines down there is more – ‘By now Obama has almost surely been briefed about an alarming stream of intelligence that began circulating early last year to the top tier of George W. Bush’s national-security leadership in Washington.’

Now, if I am not mistaken, isn’t this again the same ‘top tier’ that promised us chemical weapons factories, nuclear sites, and a 45-minute time line to the destruction of the ‘free world’! All of which by the way were proven to be lies.

You would think that a writer working on a piece will try to find then another set of sources for the ‘fears’ and ‘alarmist views’ that underpin this essay.  Well, no.

The next source is ‘one of the most senior officials in the Bush administration, who had read all of the intelligence with care’ !

A senior Bush administration official who had read all of the intelligence with care.  My, how impressive that sounds.  Senior.  Official. Intelligence.  Care.  All the words that offer us authority and ensure that we may not ask the obvious question – was the intelligence concocted? Is the official much like those who fed us these ‘truths’ about Iraq?

But apparently only I am thinking of these things as Mr. Sanger proceeds unheeded and drops in the paragraph that every American editor’s wet dreams; ‘The Osama Bin Ladin’.  We are told about a ’secret meetings’ (well, how secret could they have been if knew about them!) with mad Pakistani scientists and Osama Bin Laden! The American officials love this ’smoking gun’ – to somehow create a link that their target ‘met’ with Osama Bin Ladin – that bogeman who pops up everywhere and anywhere, whenever we need him, where ever we want him.  From Iran to Gaza, from Pakistan to Afghanistan, from Iraq to…..North Korea next?

Eerily similar to the arguments about how some Al Qaeda members had ‘traveled’ through Iraq – arguments that have conclusively been shown to be lies, they are used to istill real fear in the minds of the reader – oh no, there is that supernatural beast Al Qaeda again and so it must all be true and real.  And so here, in this piece, because it lacks anything ‘concrete’, any real evidence, any serious investigation i.e. because it lacks journalism Mr. Sanger has to bring in the ’smoking gun’ statments to further close the readers mind by overwhelming it with fear and scare the intelligence out of her!

Mr Sanger is fed the right ‘details’ of a meeting by some unspecified American intelligence source, but later quotes George Tenet himself saying that the specifics of the meeting were ‘ frustratingly vague’.  That is, they have no idea what the meeting was about for it could as well have been about the weather.  It may never even have happened other than in the minds of those who imagined it.  Some well paid source maybe?

But that does not stop Mr. Sanger saying that someone had a canister of nuclear material at the meeting!

A meeting about which the so-called intelligence organization knew ‘frustratingly vague’ details i.e. not even if it took place, or who was there, or what little was said, is the basis of Mr. Sanger putting in the sensationalist ideas that nuclear material was present, that trigger designs were discussed.  This does not sound ‘frustratingly vague’ to me, but a writer who seems to have more details than even Mr. Tenet!

And this level of sloppy journalism, in fact, clearly irresponsible journalism continues through the article which is burdened one after another with incredible claims.  At no point does Mr Sanger express any doubts, ask any questions, challenge any of his sources.  In fact, he writes to ensure that we realize that the American sources and their statements are ‘true’ and/or carry ‘more weight’, while the Pakistani responses and sources are ’shifty’ or ‘questionable’.

This idiocy continues and ends at the article, where in the very last paragraph we have this gem: ‘At the end of Bush’s term, his aides handed over to Obama’s transition team a lengthy review of policy in Afghanistan and Pakistan, concluding that in the end, the United States has far more at stake in preventing Pakistan’s collapse than it does in stabilizing Afghanistan or Iraq.’

A Bush aide hands President Obama a review of policy in Afghanistan and Pakistan! We may now understand how American foreign policy follies continues from one administration to the next! If the Obama Presidency is being briefed by possibly one of the most corrupt, lawless, discredited, criminal, violent, murderous administration in American history, then our hopes are truly over!

The American journalist’s love of rubbing up to power, to be known as someone with access to the ‘inner’ corridors of power, is perhaps its greatest failing at the moment.  Mr. Sanger is spending all his time in the offices of ‘officials’ and eating too much of the fine cuisine available at fine restaurants that I am sure he is dined at.  In Pakistan he is traveling through the living and dining rooms of the small elite – unable to speak the country’s language, ignorant of her history and her cultural diversity, uninterested in confronting it as a complex entity, Mr. Sanger has produced the classical American piece on Pakistan; sensationalist, fear mongering, officially sanctioned, and fed.

He now steps into the small footsteps of the likes of Carlotta Gall, David Rohde and others who have looked at Pakistan not through their own intelligence, but through the reports and supplied statements of ‘American officials’ or ‘Pakistani Government spokesperson’ or, left largely unsaid, the local journalists and fixers they pay large wads of cash to come back with stories about the mad men with nuclear weapons sitting in mountain caves and breathing the destruction of America with each breath.

None speak the language of the country.  None know the history of the country.  None understand the historical and cultural ties that still connect us to issues and matters in India.  None have traveled outside the sanctioned corridors to report on the nation.  They are blind, deaf and mute, and need others – American officials, Pakistani officials, translators and fixers (official and otherwise) to give them what they need.  And since they are unable to understand the very nation and its dynamics they are supposed to be reporting on, they simply feed the editors what the editors want – the stories to confirm the stories the editors are hearing from the ‘officials’ in Washington d.c..

Children create monsters to help deal with their evolving emotions and fears.

It seems that we are all still children.

What A Tangled Web We Weave

In Journalism, Our Wars, Photography, Writers on January 6, 2009 at 1:12 am

Samuel Huntington, author of the infamous book The Clash of Civilizations and the Remaking of World Order, died on December 28th 2008.

In an obituary in the New York Times, a newspaper famous for retrospectively bestowing garlands of respectability onto  the lives of even the most questionable of men, thought it ‘uncanny’ i.e. a reflection of his brilliance, that in that book he had written (predicted?) that ‘Somewhere in the Middle East, a half-dozen young men could well be dressed in jeans, drinking Coke, listening to rap, and between their bows to Mecca, putting together a bomb to blow up an American airliner.’

Huntington’s thesis that the modern world will see inevitable conflicts between what he claimed were separate ‘civilizations‘ with irreconcilable cultural and religious differences, captured the world’s imagination.  There is no doubt that this idea, offered first in an article in the journal ‘Foreign Affairs’ remains perhaps one of the most discussed, debated, celebrated and denigrated political and social constructs in modern memory.  And that is no small achievement.

It would be too easy to label him a hack and dismiss him. He was certainly not that. He was indeed a conservative, perhaps even a religious conservative, but he had the honesty to speak his mind even when it would surprise his erstwhile supporters, for example when he stated that ‘Western intervention in the affairs of other civilizations is probably the single most dangerous source of instability and potential global conflict in a multi-civilisational world.’

So I will discuss him in a slightly different way.

In 1874 Friedrich Nietzsche wrote his essay ‘On The Use and Abuse of History’ a rather dense treatise on the value and dangers of an excessive immersion in the study of history.  I will not go into a lengthy discussion on Nietzsche – I am certainly not qualified to do that, and I want to spare the handful of people who bother to read this blog in the first place.  I will though focus on a few points in Nietzsche’s piece that came to my mind as I was reading about Samuel Huntington.

The entire argument of Nietzsche’s piece is in its first few sentences.  Beginning with a quote from Goethe, ‘Incidently, I despise everything which merely instructs me without increasing or immediately enlivening my activity’, Nietzsche goes on to summarize that ‘…we must in all seriousness despise instruction without vitality, knowledge which enervates activity, and history as an expensive surplus of knowledge and a luxury, because we still lack what is still most essential to us and because what is superfluous is hostile to what is essential.’

The danger as Nietzsche saw it was that ‘…in the historical method of reckoning so many false, crude, inhuman, absurd, and violent things always emerge that the fully pious atmosphere of illusion in which alone everything that wants to live can live necessarily disappears. But only in love, only in a love overshadowed by illusion, does a person create, that is, only in unconditional belief in perfection and righteousness.’

History was then to be studied to serve man, to improve our world and our society, and to help us learn from our mistakes.  The worst that one could do was to become an historically educated man ‘…who believes He has to do nothing other than continue to live as he has been living, to continue loving what he has loved, to continue to hate what he has hated, and to continue reading the newspapers which he has been reading. For him there is only one sin, to live differently from the way he has been living.’

And that is what Huntington became.

His writings have been criticized by many so I will not repeat those here.  The criticisms hinge on the many erasures that Huntington had to employ to create the illusion of distinct and separate ‘civilizations’ and their inevitable clash.  Not the least of the erasures being an acknowledgment of real, lived human existence and the extensive and daily economic, social and cultural interactions taking place between the peoples of the world every moment of every day of every year of  known human history.

But for me personally his greatest mistake was his lack of a love overshadowed by illusion - the ability to see the possibilities of human life and human sharing.  Whether these possibilities ever existed could be debated endlessly, but what matters to me, and what I feel was missing in his thinking, was the idea that these possibilities should exist.  Huntington read the history that he wanted to read.  He found in his readings, lectures, writings and research the antagonisms that he was looking for and that he believed confirmed his world view.

For Huntington, and for the millions who support his world view, something called ‘The West’ stands for liberty, democracy, human rights, religious freedom, tolerance, respect for the individual and so on and so forth.  All that is good in man becomes all that ‘The West’ stands for and represents.  And in opposition to all this stands the rest, ‘The East’, ‘The Orient‘ etc. But much of this belief in Western culture and its supposedly unique values, the values for which Western powers have repeatedly found it necessary to kill and destroy, is based on a very simple, and in fact, concocted construction of the West’s idea of its own heritage.

These concoctions include the belief, to quote the French historian Marcel Detienne from his new book ‘The Greeks and Us’,  not only “…that both the abstract notion of politics and concrete politics one fine day fell from the heavens, landing on ‘classical’ Athens in the miraculous and authenticated form of Democracy (with a capital D), but also that a divinely linear history has led us by the hand from the American Revolution, passing by way of the ‘French Revolution’, all the way to our own western societies that are so blithely convinced that their mission is to convert all peoples to the true religion of democracy.”

And again from Detienne ‘In his Instructions, Lavisse declared that what secondary-school pupils need to be taught, without their realizing it, is that ‘our history begins with the Greeks’. Our [French] history begins with the Greeks, who invented liberty and democracy and who introduced us to ‘the beautiful’ and a taste for ‘the universal’. (Lavisse was an important influence in matters of French education in the 19th century)

These concoctions in other cases also included outright theft, as Jack Goody discusses in his book ‘The Theft of History’, in which he argues that ‘Since the beginning of the 19th century, the construction of world history has been dominated by western Europe.’ and ‘What has characterized European efforts…has been a propensity to impose their own story on the wider world, following an ethnocentric tendency…and the capacity to do so due to its de facto domination in many parts of the world’.  Goody argues that the study of history has to take a new direction and that ‘A more critical stance is necessary….That means…being sceptical about the west’s claims (or indeed Asia’s), to have invented activities and values such as democracy or freedom.’ And so on.

I am reading the book as I write this.  I have to thank a friend, a writer who wishes to remain anonymous, for pointing me to a recent Le Monde Diplomatique article that refers to  both these books.

Jack Goody is a British social anthropologist. He has been a prominent teacher at Cambridge University, he was elected Fellow of the British Academy in 1976 and he is an associate of the US National Academy of Sciences.  Marcel Detienne is a Belgian historian and specialist in the study of ancient Greece. Currently he is the Basil L. Gildersleeve Professor of Classics at The Johns Hopkins University.  He was also was at one time a directeur d’études at the École pratique des hautes études, where he taught until 1998.  He was also a founder of the Centre de recherches comparées sur les sociétés anciennes in Paris.

No light weights here.

How we read the world is a reflection of how we read ourselves.  Edward Said always loved to quote Cesaire’s Cahier d’un retour particularly these lines

and man must still overcome all the interdictions

wedged in the recesses of his fervor and no race has a

monopoly on beauty, on intelligence, on strength

and there is room for everyone at the convocation of

conquest

We as individuals are in need of history but that reveals to us the myriad connections, interactions, and pollutions that give our our culture (social, religious, political, human) the complexity, depth, beauty and righteousness we believe it possesses. Even until the end Samuel Huntington was unable to overcome all the interdictions.

He simplified history on the basis of an idea of his heritage, his ‘western’ heritage which in fact is a man made heritage, cleansed of its complexity and eastern influences, including Islamic.  It is a myth that the west traces its heritage to the Greeks and that it’s heritage begins there, exclusive of the rest of the world.  Even a brief review of David Lewis’ book “God’s Crucible’ reveals how deeply Arabic and Islamic thought, ideas, habits and values influenced European thought, ideas, habits and values.   And I will not even begin about China and her technical advances centuries before anything similar emerged anywhere else in the world, including Europe.  His idea of ‘the west’ was based on a false premise, a myth created in the late 18th/early 19th century and since made to appear as definitive and true! And he never  able to incorporate or understand the many challenges to this myth that have emerged in the academies of Europe, America and elsewhere.

His thesis not only simplified the world into a caricature of itself, but it erased histories.  Particularly modern, 20th century American history. The Middle East, Huntington’s maniacal young men in American jeans drinking Coke, are all constructs whose histories has been erased to satisfy a belief in the irrational, inhuman propensity towards violence, intolerance, injustice and repression that resides within ‘the other’.  They do not posses the American attitude.  They do not possess reason. They do not possess pain. They do not possess a sense of injustice. And most perversely, we have nothing to do with them there.

This reductive understanding of violence and confrontation is today being employed all over the world.  One cannot but be surprised at the ease with which Huntington’s ideas have armed the most bigoted and racist nationalist and religious ideologies around the world with an intellectual framework to justify their actions.

The most inhuman of humans, men and women with lives based on violence, expropriation, thuggery, greed and corruption, speaking to us of our vaunted values.  How much they all share and how little we seem to recognize the connections.

It may be easy to ask ‘Why do they hate us?’ and go home convinced that you have separated yourself from the evil.  Or to fall into the seductive trap of believing in the inevitable conflict between ‘Jews’ vs. ‘Muslims’.  But reality is more inter-twined, and the imagined protagonists greater collaborators than we are prepared to accept.  I was reminded of this by a recent piece by Joseph Massad, an Associate Professor at Columbia University, called ‘The Gaza Ghetto Uprising’.

There is no ‘us vs. them’. We are them, and they are us.

My latest photography project in India is about rediscovering the connections between India’s two most troubled communities – the Hindus and the Muslims.  Convinced of their ‘civilizational’ differences, not only did India’s Muslim elite, influenced by European ideas, construct a separate and distinct history and heritage for itself, but insisted that it required its own separate nation.  Millions died, millions more were displaced and today nearly 2 billion people, the residents of India and Pakistan, are held hostage to these same, ancient, outdated ideas.

Maybe Samuel Huntington saw something inevitable in that clash. His history and reading of it would suggest that.  But perhaps if had looked a little more closely into the history of the region he may have found that in fact the clash is a modern construct, a very 19th century construct, and one that was instigated less by irreconcilable differences, but more by the exigencies of the pursuit of political power and by a handful of European educated, elite men.  I will write more about that in a separate post.

We need history, but as Friedrich Nietzsche argued, we need it for living.  Samuel Huntington lives, in the hearts and minds of millions, particularly the powerful and the despotic.  That is not a legacy he would be proud of.  But it is the one that we, the rest of us who found something interesting and educational in Huntington’s writings but were not seduced by them, have to confront and address.

The Limits of Photojournalism And Things More Worthwhile

In Israel/Palestine, Journalism, Our Wars, Photography, Poetry on December 31, 2008 at 3:45 pm

It is perhaps the most interesting, creative and compelling book of photography I have ever read. I have looked and read it over a dozen times in the last 8 years.  Edward Said & Jean Mohr’s ‘After The Last Sky: Palestinian Lives’ is perhaps the only example that I know of of a brilliant writer and a sensitive photographer collaborating to produce something remarkably insightful, intelligent and provocative at the same time.

For the first time a writer has worked directly from photographs to produce essays that speak to the deeper, human and ever lasting issues concerning the question of Palestine and the lives of the Palestinians in exile and under occupation.  And has done so without resorting to hysteria or sensationalism. As a book, an endeavor, setting aside its subject, it is a masterpiece of photojournalism that informs and elevates its subject beyond images and words alone.

And similarly, Jean Mohr, a wonderful Swiss photographer I fear is mostly forgotten these days, has traveled beyond the devastated and desperate Palestinian landscapes to excavate the gentle and human rhythms and to reveal the humanity and daily ordinariness of Palestinian’s life.

This is real photojournalism; engaged, creative, insightful, committed, patient, lasting, influential and thought provoking.  It is photojournalism that attempts to contribute to the dialogue about an issue, without seeming desperate to sensationalize or be recognized.  It is photojournalism that goes beyond the personality of the photographer, and instead highlights the lives of the subjects, and issues on hand and the questions that are relevant.  It is real photojournalism, and for the last 8 years, Said/Mohr’s ‘After The Last Sky’ has been my personal measure of how photojournalism should be done.

Anything less is mere picture making.

I met Jean Mohr in Jerusalem in 2003 at an exhibition sponsored by the International Committee of the Red Cross (ICRC). He was one of my earliest influences and inspirations, and in fact my early work on the Sattar Edhi Center in Karachi, Pakistan was inspired by one of his pictures from the same center.  Lets be honest, I set out to imitate him! I was drawn to him because of the complexity of his images that never crossed the line into voyeurism, sensationalism or some desperate attempt to titillate.  In person he was appropriately shy – I seemed to scare him.  I thought I saw his champagne glass shake with fear when I introduced myself to him and said that he had been a major influence on my work! The creative, exciting conversation that i had imaged we would have never materialized.  After a few minutes of clumsy and formal introductions and pleasanteries, Jean Mohr was pulled away (or found an excuse to leave?) and I never got a chance to speak to him again.

I have on my shelves a few hundred books of photography and photojournalism.  Most of them large, expensively bound tomes that suggest gravity of intent and purpose.  Serious artists at work.  Only a handful have I poured over in detail, savoring each page, and learning something new from it.  Robert Frank’s “The Americans’ is one that I have come back to again and again.  That is a cliche.  Said/Mohr’s “After The Last Sky’ is in fact not even on my photography book self.  It is instead placed in along my other books.  And that I think is it’s highest achievement.

Said/Morh’s “After The Last Sky’ is the only photography book I know that is filed under ‘Middle East History’, and not under the ‘Photography’ section of any mainstream bookstore.  In fact, that is where I remember finding  my copy – in the ‘Middle East History’ section of the Barnes & Noble store on 555 5th Avenue in Manhattan in 2001.  And that is this book’s greatest achievement – that it has lifted itself away from the shallow and limited value of being just another photo book to being a book about history!

My shelves are laden with these high art tomes of photography.  Most mere decorations.  Clutter.

And so much of today’s photojournalism is mere clutter.  Illustrations really, not illuminations.  We no longer seem to know the difference.  We no longer appear prepared to go beyond the picture and to reveal the more complex political, economic, social and historical issues at stake.  Perhaps worse, there is something rather close to middle class voyeurism in what passes for essential photojournalism.  This is perhaps a little discussed subject when it comes to the field of photojournalism i.e. the class divisions between those who make the pictures and those who become the subjects and how it influences what, who and how we represent.

A brief perusal of the kinds of subject matter that is recognized as ‘photojournalism’ or ‘documentary photography’ reveals this bias;  drug addicts (anywhere), transvestites (anywhere, but especially in Asia), prostitutes (anywhere, but especially in Asia), drugs and drunks in Russia, street children, the mentally ill (like shooting fish in a bowl!), strip clubs/strippers, prisons, the physically handicapped, hungry/pleading Africans, crazy/blood thirsty Africans, exotic ritual/false exotic culture stories that offer us the ‘other’ as primitive etc.  All subjects popular with young photographers, grant committees, and photojournalism education institutes shoving students out towards the ‘downtrodden’ neighborhoods to find their stories. All about comunities that can ’shock’ middle class sensibilities and offer us a mean to sneer, pity, or simply express remorse.

There have been many discussions and endless arguments about where photojournalism stands today and what ails it.  Few seem prepared to say that it has stagnated, and that its creative energies are being wasted on the purchase of new toys and technology gizmos rather than on the complex and demanding art of constructing and telling new stories from new angles and in new ways.  To the human art of seeing our world for its complexities and attempting to speak about them.

I continue to look for stories that connect us to them, reminding us that their lives and our lives are connected in intricate, obvious ways if we would only bother to look. From Kivu to Khartoum, to speak of African alone, what transpires there is directly connected to what transpires here.

Maybe a new photo reportage on Zimbabwe perhaps that does not fall into the simplistic and easy narratives about a nation misruled by a yet another mad African leader – see again Mamdani on Zimbabwe . Or something on Africa’s HIV/AIDS crisis that reveals to us how effective indigenous, small scale programs of prevention and care have been in contrast to the waste and corruption engendered in the multinational/NGO industries involved in the matter – as demonstrated by Helen Epstein in her book ‘The Invisible Cure’.

And maybe that is why Said/Mohr’s work continues to stand out because it is not constrained by the limits of the image, or the need to have a story published in a weekly news magazine, or the preferences of a particular photo editor.  It reveals connections, human, political, social and historical, between its subject and us and does so without cleansing the matter of its uncomfortable realities.

It remains a work liberated from the constraints of the craft, and the media structures that sustain and also constrain it.  Jean Mohr does not like to write, but in the book’s Introduction he reveals the personal, moral and perhaps dissident motivations for his nearly 50 years of work on the lives and displacement of the Palestinians.  He tells of a conversation with ‘… a respected reporter and a perfect connoisseur of the world of photography.’ where this individual asks:

‘And what projects are you working on at the moment?’

‘An exhibition…and…I’m working on the completion of a new book, something very close to my heart.’

‘What’s it about?’

‘The Palestinians’

There was a rather long silence…my friend looked at me with a slightly sad smile, and said ‘Sure, why not! But don’t you think the subject’s a bit dated? Look, I’ve taken photographs of the Palestinians too, especially in the refugee camps…its really sad! But these days, who’s interested in people who eat off the ground with their hands? And then there’s all that terrorism…I’d have thought you’d be better off using your energy and capabilities on something more worthwhile!’ (From After The Last Sky, page 7)

It seems to me today we are all working on ’something more worthwhile!’ i.e. avoiding works that question our prejudices and misunderstandings, or are just politically impolite and rude, or focus on issues and angles that may reveal new truths and insights to situations considered known.

I simplify; photographers like Jason Ezkenazi, Jon Anderson, Simon Wheatley, Sara Terry to name a few continue to pursue the complex, complicate and demanding.

I am speaking about works that take risks, that reveal independence of thought, and a commitment to confront our seemingly endless need to simplify.  Works that are not constrained by the need for the obvious image, but given flight by the possibilities of what the subject can reveal.  Works that are about teaching us which questions to ask.

I have struggled with these thoughts for every year that I have been working as a professional.  They are guides in my personal journey as a photographer, with all my current works revealing the vast distances I  have yet to travel to reach these ideals.

In the mean time, today, the last day of 2008, I have a copy of ‘After The Last Sky’ in my hands, and a prayer in my heart for the voiceless and forgotten people of Gaza.  As Darwish himself said it best (didn’t he always!)

Where should we go after the last frontiers,

where should the birds fly after the last sky?

The Anti-Semite In Me

In Journalism, Our Wars, Photography on December 27, 2008 at 5:32 pm

In 2002, just before I left for Gaza to begin nearly 2 years of work on the impact of Israel’s occupation of that land, I wrote a short email to Edward Said.  Much to my surprise, he wrote back.  It was a short response, wishing me luck with my project and expressing an interesting in seeing my work once I thought it was ready to be shown.  Edward Said died about a year later and I never got a chance to take him up on his offer, though I knew that he had made it out of politeness.  And I could never tell him how much even that polite offer had meant to me and how much it had inspired the work that I did eventually manage to produce.

I am thinking of Gaza today as its people are once again asked to bear the brunt of the world’s indifference and casual justifications for their murders.  On this first day alone, over 200 have been been quietly killed. Indeed, it is Israel that is carrying out the air raids but it is we who have permitted this to be done.  Prepared as we are to quickly forget the political aspirations of the Palestinians, eager as we are to reduce this struggle from the broader one about throwing off an occupation to a petty one about ‘rockets’ and ‘retaliations’.  All to avoid the fact that we are not prepared to ask of Israel the very things she and her citizens insist on asking of European powers that once wronged her people: justice, compensation, respect for law, criminal prosecution, acknowledgment of war crimes and crimes against humanity.

After 2 years of work in Gaza the images were published in a few obscure and unread Internet and print journals.  It took just a few days for the reactions to come in and unsurprisingly I was accused of being an anti-semite, and a supporter of terrorism. By friends, and by strangers. The work had offended them, and dismissed as the rantings of a misguided, unqualified and naive photographer. 

Apparently I had not understood anything, or realized the foolishness of my ways.  Many who attacked me were quaintly ignorant of the history of the conflict.  And determined to remain so.  Most had in fact never even been to Israel but defended her history and her actions on the basis of a religious, ethnic, or some other affiliation.  Many had read a book or two, largely biased.  Most had not read the best of even Israel’s own.

Israel’s academies and individuals have produced some fine historical research and independent writings about her emergence as a nation, its Palestinian victims and the perpetuation of myths that sustain the conflict.  It surprises me even today and I can’t help but admire the courage of these men and women who have so bravely carried out their work as Israeli citizens about Israel’s history, in a national and social atmosphere imbued with an extremely militant and sectarian nationalism.

Benvenisti’s Sacred Landscape, or Pappe’ ‘The Ethnic Cleansing of Palestine’, or Sternhell’s “The Founding Myths of Israel’ to name just a few.  I list the Israeli’s first because I will be accused of ‘bias’ or anti-intellectualism if I list voices from the Arab and the rest of the world, a world painted as irrationally hostile to the Middle East’s ‘only liberal democracy’.

But for those interested in works that reflect academic rigor, intellectual honesty and excellence in research, they should also look at Khalidi’s  ‘The Iron Cage’, or Shehadeh’s  ‘Strangers in the House’ or Nusseibeh’s  ‘Once Upon A Country’, and Edward Said’s masterful ‘The Question of Palestine’.  And there are a lot more.

Some years ago journalist Jonathan Cook wrote an essay called From Highcombe to Nazareth: How I Found Myself with the Islamic Fascists He was writing some years after my time in Gaza, but it captured wel the things I felt back in 2004.  Jonathan has been accused of being an anti-semite as well for his rigorously researched writings and honest appraisal of the realities of Israeli politics and policies in the Occupied Territories.

If you have not read Jonathan’s work, make sure you do.  He has written 3 books on Israel and a number of insightful articles and essays on the situation inside Israel, her management of the Occupied Lands and on broader geo-political matters.  I am proud to call Jonathan a friend.  He has also been called an anti-semite.  I guess misery loves company.

We live in a world where an unarmed population, trapped inside what can only be described as a prison, is being attacked with missles and soon with sophisticated armoured vehicles.  One of the most powerful military nations in the world has convinced us, us with our civilized codes of behavior and morality, that this tiny little portion of the earth with its dangerous and barbaric people, are a threat to its existence.  We have been convinced that this is about ‘rockets’ and ‘peace’ all so that we do not remember that this is actually about an occupation, oppression, dispossession and simple theft.

We live in a world where we, the educated, modern, evolved, superior, civilized and wealthy have decided that the evil that we confront is the unarmed, hungry and trapped masses of Gaza who have the temerity to refuse our ‘peace’ and to demand something more: justice, compensation, respect for law, criminal prosecution, acknowledgment of war crimes and crimes against humanity. And I find, illogically perhaps, that I cannot be part of this civilized, modern, progressive, evolved, superior world.

I find that I remain accused of being an anti-semite.

I can’t look away.

I can’t explain it away.

I can’t accept the ‘truths’ I am supposed to.

I can’t accept that the only alternative to ‘us’ is the ‘terrorists’.

I can’t forget their history.

I can’t ignore their dispossession.

I can’t excuse their murders.

I can’t justify their suffering.

I can’t remain numbed by a media bought.

I can’t ignore their courage.

I can’t ignore their right.

I can’t explain away their struggle for justice.

I can’t transform what is clearly wrong into a geo-politically convenient, socially acceptable, polite-company approved  ‘right’.

I can’t.

I have with this same naivete and foolishness continued my work on the Palestinians – both in Israel and in the Occupied Territories.

I remain in awe of the courage, dignity and determination of the Palestinian people.  I am proud of having stood alongside them.  And if being an anti-semite can be contorted to mean anyone who argues for the rights and justice of the Palestinian people who have suffered decades of dispossession, expulsion, and oppression, than I remain an anti-semite.

And for those who may have forgotten, this is the Palestinian flag, bloodied and torn as it may be today and for decades past, but that it is the Palestinian flag.

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Read: Chris Hedge’s ‘Party To Murder’

Read: Sara Roy’s ‘If Gaza Falls’

Read: Tariq Ali’s ‘From The Ashes of Gaza’

Read: Richard Falk, Princeton University emeritus professor of international law who has also been an investigator of Palestinian human rights for the United Nations, report on Gaza human rights, where if I may summarize the following statements can be clearly read

  1. ‘…a policy of collective punishment, initiated by Israel to punish Gazans for political developments within the Gaza strip, constitutes a continuing flagrant and massive violation of international humanitarian law as laid down in Article 33 of the Fourth Geneva Convention.’
  2. …an urgent effort should be made at the United Nations to implement the agreed norm of a ‘responsibility to protect’ a civilian population being collectively punished by policies that amount to a Crime Against Humanity.’

NOTE: The term “anti-Semitic” (or “anti-Semite”) usually refers to Jews only.  It was coined in 1873 by German journalist Wilhelm Marr in a pamphlet called, “The Victory of Jewry over Germandom”. Using ideas of race and nationalism, Marr argued that Jews had become the first major power in the West. He accused them of being liberals, a people without roots who had Judaized Germans beyond salvation. In 1879 Marr founded the “League for Anti-Semitism”.  (See Wikipedia Entry)

However, The term Semite means a member of any of various ancient and modern people originating in southwestern Asia, including Akkadians, Canaanites, Phoenicians, Hebrews, Arabs, and Ethiopian Semites.

Only Interesting If Its Madness

In Journalism, Our Wars, Photography on December 8, 2008 at 11:33 pm

Read: Edward Said’s “Covering Islam: How The Media And The Experts Determine How We See The Rest Of The World”

I have been stereotyped: my life and lived experiences negated by photo editors in the USA in particular.  I am nothing but my ethnicity, a man from my country of my birth 42 years ago.  My name marks me as a ‘Muslim’, my ethnicity marks me as a ‘South Asian’, my birth marks me for work within the confines of the geography of the country of my birth. My birth on an unexceptional day in Karachi nearly 42 years ago was of greater interest and relevance than the nearly 18 years I spent studying, working, learning, and becoming in the United States of America (a country of which I am a citizen).  I am the ‘Pakistani’ photographer and never allowed to be anything else, or asked to be elsewhere.

(Aside: I have in fact managed to produce work in places as diverse as Iraq, Haiti, USA, Japan and India thanks to editors in Europe and a few more open minded ones in the USA itself)

As a result I have done extensive work in Pakistan, particularly in the tribal areas and on the subject of religious fundamentalism in that country.  From 2001 (post 9/11) until as recently as 2007, the only subjects that any American news magazine or news paper ever asked me to cover was directly related to issues of religious extremism and ‘Islamic’ radicalism.  There was nothing else that interested them, nothing else about the social, political, economic or cultural dynamics of the country that was of interest.  Not even if it perhaps helped explain the violent and fundamentalist phenomenon they were in fact interested in.  And it was not just me, but a number of my colleagues in other countries of largely muslim citizens also complained about the narrow minded determination to view any and all their nation through the prism of ‘religion’ and/or ‘religious fundamentalism’.

In fact, a recent, cursory review of The New York Times Sunday Magazine revealed an extremely disturbing trend; that any and every story that had anything to do with people of a Muslim heritage had to be covered from the angle of ‘fundamentalism’ and/or ‘extremism’ within and about those people and their country.  Take a look for yourself:

“The Next Islamist Revolution”, January 2005

“Next Gen Taliban”, January 2008

“In The Land Of The Taliban”, October 2006

“Islam On The Outskirts Of The Welfare State”, February 2006

“A Dishonorable Affair”, September 2007

“Where Boys Grow Up To Be Jihadis”, November 2007

“Islam, Terror And The Second Nuclear Age”, October 2006

“Hizbollah’s Other War”, August 2006

“Iraq’s Jordanian Jihadis”, February 2006

“The African Front”, December 2007

“Whose Iran?”, January 2007

“Policing Terrorism”, July 2007

This is a quick search and I continue to add to this list.  Its incomplete, but it reveals a trend.  I can’t imagine that further research will prove this trend wrong, though i do believe that it will only strengthen the blinkered focus.  Here is a major, American newspaper/magazine of record, that has consistently and single-mindedly revealed to us broad swaths of the world and its real diversity only through the frightening filters of ‘radicalism’, ‘extremism’ and a perceived hatred that is directed against ‘our way of life’.  And it is all about Muslims and about this religion that perplexes and confuses most American editor, journalist, commentator, op-ed writer or pundit. Islam and Muslims have been reduced to an ‘essence’ believed to be within their ethnic makeup and one that they can’t but follow mindlessly and without any individual moral judgement or choice.  Their social, political and economic histories largely erased, their acts of violence seen as somehow inherent to the ideology and teachings of the religion itself and not as acts carried out within specific historical, political, geo-strategic and human circumstances.

It is perhaps no surprise that so many of today’s major photographers and photojournalists proceed into the world Islamic and return with pictures that simply evoke fear.  For example, Magnum’s brilliant Paolo Pellegrin who found such beauty and dignity amongst the mourners at Pope John Paul’s funeral, or at a fashion show in New York, yet could not help but depict Egyptian’s protesting against their American supported dictatorship as demonic figures that could only inspire fear and perhaps even loathing

I can think of so many others; Bertrand Meunier, Jehad Nga, Ziyah Gafic, Ben Lowy, Alex Majoli – photographer’s whose works have been inspirations for me, who show such tremendous sensitivity and insight on so many of their subjects and yet fall right back to the cliches and fearsome depictions of anything that comes close to being of Muslim and/or Islamic heritage.

I generalize too much, admittedly, about these photographers and their works.  I also accept that in the end the choices of which pictures to run are made by editors, not photographers.  And as I have learned from personal experience, American editors put a lot of pressure on you to come back with images that are more ‘menacing’, and carry a greater message or ‘impending violence’ or ‘threat’ when it comes to illustrating stories from regions Muslim.

Its only interesting if its madness.

Many of my images that show something close to common humanity lie unused in my archives.  But I continue to make them, and will continue to do so.  This paranoid, abhorrent obsession too will pass.

ADDENDUM: My friend and photojournalist Miguel Ribeiro Fernandes gently reminded me that such stereotyping affects many other regions and people’s of the world, that my work itself has carried cliches from Muslim/Islamic regions and peoples, and that most photographers, regardless of their backgrounds and personal idiosyncracies, face some form of stereotyping from editors looking to categorize them for possible assignment work based on their perceived strenghts.  All true and all points I acknowledge.

UPDATES: I will add further links from the New York Times Magazines & its determination for things Islamic/Terrorist as I come across them: