‘Go back NTPC, get out India’
Of all the slogans raised in protest against the coal power plant being built at Rampal in Bagerhat, this one’s the best. Continue reading “RESISTING RAMPAL”
Remarkable: Noam Chomsky
Absolutely stunning: Jess Worth. New Internationalist Magazine (Oxford)
They told me you were quiet. But I felt the rage in your silence. That when you spoke, they rose above themselves. But I felt their fear. That they held you amidst them. But I felt their loneliness. They pointed to the Koroi tree where you would all meet. The banyan tree under which you spoke. Ever so powerfully. They pointed to the mud floor, where you slept. I touched the mat that you had rested upon, and I knew I had found the vessel that must hold your image.
They had tried to erase you, your people, your memory. They had torched your homes and when coercion failed, when you remained defiant, they took you away, in the dead of night.
The leaves burned as the soldiers stood and watched. The same leaves they weave to make your mat. The same leaves I shall burn, to etch your image. Will the burning mat hold your pain? Will the charred leaves hold your anger? Will the image rising from the crisp ashen leaves reignite us? Will you return Kalpana?
For nineteen years I have waited, my unseen sister. For nineteen years they have waited, your warriors. Pahari, Bangali, men, women, young old. Was it what you said? What you stood for? Was it because you could see beyond the land, and language, the shape of one?s eyes and see what it meant to be a citizen of a free nation? For pahari, bangali, bihari, man, woman, hijra, rich, poor, destitute, Hindu, Muslim, Christian, Buddhist, Atheist, Agnostic, Animist.
You had reminded us that a nation that fought oppression, could not rule by oppressing. That a people that fought for a language, could not triumph by suppressing another’s. That the martyrs who died, so we might be free, did not shed their blood, so we could become tyrants. That we who overcame the bullets and bayonets of soldiers, must never again be ruled through the barrel of a gun.
That Kalpana is what binds us. That is why Kalpana, you are not a pahari, or a woman or a chakma or a buddhist, but each one of us. For there can be no freedom that is built on the pain of the other. No friendship that relies on fear. No peace at the muzzle of a gun.
These Kalpana are your warriors. They have engaged in different ways, at different levels, sometimes with different beliefs. Some have stayed with you from the beginning. Others have drifted. They have not always shared political beliefs. But for you Kalpana, my unseen sister, they fight as one.
The process involved in creating these images are rooted to the everyday realities of the hill people, the paharis. Repeatedly, the interviewees talked of the bareness of Kalpana’s home. That there was no furniture, that Kalpana slept on the floor on a straw mat.
Sadia Marium making prints for my upcoming show on Kalpana Chakma #justiceforkalpana #eavig #CHT #military #bangladesh #rights #photography
A photo posted by Shahidul Alam (@shahidul001) on
Rather than print on conventional photographic media, we decided we would use material that was part of pahari daily lives. The straw mat became our canvas. The fire that had been used to raze pahari homes, also needed to be represented, so a laser beam was used to burn the straw, etching with flames, the images of rebellion.
It was the politics of this interaction that determined the physicality of the process. The laser beam consisted of a binary pulse. A binary present on our politics. In order to render the image, the image had to be converted in various ways. From RGB to Greyscale to Bitmap, from 16 bit to 8 bit to 1 bit. To keep detail in the skin tone despite the high contrast, the red channel needed to be enhanced. The Resolution and intensity and duration of the laser beam needed to be brought down to levels that resulted in the straw being selectively charred but not burnt to cinders.
A screen ruling that separated charred pixels while maintaining gradation had to be carefully selected. And then, working backwards, a lighting mechanism needed to be found that broke up the image into a discrete grid of light and dark tones, providing the contrast, the segmentation and the gradation, necessary to simulate the entire range of tones one expects in a fine print. This combination of lighting, digital rendering, printing technique and choice of medium, has led to the unique one off prints you see in this exhibition. A tribute to a unique woman that had walked among us.
The dot matrix Olivetti printer was noisy. The XT computer came without a hard drive: two floppy disks uploaded the operating system. When the electricity went (as it often did), we had to reload it. Our bathroom doubled as our darkroom. A clunky metal cabinet housed our prints, slides, negatives and files. Anisur Rahman and Abu Naser Siddique were our printers; I was photographer, manager, copy editor and part-time janitor. Cheryle Yin-Lo, an Australian who had read about us in a magazine, joined as our librarian. We offered and she happily accepted a local salary.
The New Internationalist Magazine in Oxford, has been a long time friend and supporter. This two page spread was put together by them to commemorate Drik’s 25th anniversary. Thanks NI. Continue reading “Drik’s 25th Anniversary”
By leveraging its ties with non-western powers, BRICS can check US hegemony
India was known for its quasi-socialist economy before it unfettered its private sector in 1991. India soon became global capital’s favourite hangout, sending its economy on a high. The neo-liberal roller coaster ride, however, hit snags. The Indian economy, after touching a peak of over 10pc growth in 2010, tapered down to below 5pc in the last three years. The Indian corporate class blames this lapse solely on the ruling Congress party’s ‘policy paralysis’. Its ‘meek’ prime minister, Manmohan Singh, was now identified as a hurdle. The aggressive Modi thus provided the ultimate contrast.
“What he [Modi] will be called upon to do is not to attack Muslims, it will be to sort out what is going on in the forests, to sweep out the resistance and hand over land to the mining and infrastructure corporations,” explains Ms Roy. “The contracts are all signed and the companies have been waiting for years. He has been chosen as the man who does not blink in the face of bloodshed, not just Muslim bloodshed but any bloodshed.” India’s largest mining and energy projects are in areas that are inhabited by its poorest tribal population who are resisting the forcible takeover of their livelihood resources. Maoist militants champion the cause of these adivasis and have established virtual rule in many pockets.
“Bloodshed is inherent to this model of development. There are already thousands of people in jails,” she says. “But that is not enough any longer. The resistance has to be crushed and eradicated. Big money now needs the man who can walk the last mile. That is why big industry poured millions into Modi’s election campaign.”
Ms Roy believes that India’s chosen development model has a genocidal core to it. “How have the other ‘developed’ countries progressed? Through wars and by colonising and usurping the resources of other countries and societies,” she says. “India has no option but to colonise itself.”
India’s demographic dynamics are such that even mundane projects, such as constructing a road, displace thousands of people, never mind large dams and massive mining projects. The country has a thriving civil society, labour unions and polity that channel this resistance. The resistance frustrates corporate ambitions. “They now want to militarise it and quell it through military means,” she says. Ms Roy thinks that the quelling “does not necessarily mean one has to massacre people, it can also be achieved by putting them under siege, starving them out, killing and putting those who are seen to be ‘leaders’ or’ ‘instigators’ into prison.” Also, the hyper Hindu-nationalist discourse which has been given popular affirmation will allow those resisting ‘development’ to be called anti-nationals. She narrates the example of destitute small farmers who had to abandon their old ways of subsistence and plug in to the market economy.
In 2012 alone, around 14,000 hapless farmers committed suicide in India. “These villages are completely resourceless, barren and dry as dust. The people are mostly Dalits. There is no politics there. They are pushed into the polling booths by power brokers who have promised their overlords some votes,” she adds, citing her recent visit to villages in Maharashtra that has the highest rate of farmer suicides in India.
So is there no democracy in India then? “It would be too sweeping to say that,” she retorts. “There is some amount of democracy. But you also can’t deny that India has the largest population of the poor in the world. Then, there hasn’t been a single day since independence when the state has not deployed the armed forces to quash insurgencies within its boundaries. The number of people who had been killed and tortured is incredible. It is a state that is continuously at war with its people. If you look at what is happening in places like Chhattisgarh or Odisha, it will be an insult to call it a democracy.”
Ms Roy believes that elections have become a massive corporate project and the media is owned and operated by the same corporations too. She opines that “some amount of democracy” in India is reserved for its middle classes alone and through that they are co-opted by the state and become loyal consumers of the state narrative of people’s resistances.
“The 2014 elections have thrown up some strange conundrums,” she muses. “For eg, the BSP, Mayawati’s party, which got the third largest vote share in the country, has won no seats. The mathematics of elections are such that even if every Dalit in India voted for her, she could have still not won a single seat.”
“Now, we have a democratically elected totalitarian government,” she continues. “Technically and legally, there is no party with enough seats to constitute an opposition. But many of us have maintained for several years that there never was a real opposition. The two main parties agreed on most policies, and each had the skeleton of a mass pogrom against a minority community in its cupboard. So now, it’s all out in the open. The system lies exposed.”
India’s voters have given their verdict. But the blunt question that Ms Roy raises remains unanswered: where will India’s poor go?
Published in Dawn, May 23rd, 2014
M. Shahidul Islam in Toronto
“Propaganda must be planned and executed by only one authority,” said Adolf Hitler’s chief propagandist, Joseph Goebbels (1897-1945). In today’s cyber world, such a strategy holds little water given that the ordinary people too have access to what is deemed as secrets by the ruling coterie.
The controversy follows publication of news in the Bangladesh media, quoting Bangladesh’s official news agency BSS and the private news agency UNB as sources, that the award was given for the PM’s commendable role in poverty reduction.
The Rural Visual Journalism Network (RVJN) is an innovative initiative where trained district correspondents use Apple i-Pod Touch technology to produce multimedia stories from rural Bangladesh. The correspondents’ multimedia stories focus on addressing specific issues faced by media and by rural citizens of Bangladesh.
Underground fires have been burning in the small dusty coal town of Jharia in the eastern Indian state of Jharkhand for more than 80 years now. All efforts to put out the fires have been in vain. Photos: ©Arindam Mukherjee: BBC
In places like Laltenganj, the fires are now burning overground. Continue reading “In pictures: India coal fires”
2013 PhotoPhilanthropy Activist Awards
THE ACTIVIST AWARDS next submission period opens October 1, 2013
The PhotoPhilanthropy Activist Awards identify outstanding work done by photographers in collaboration with nonprofit organizations worldwide and awards prizes ranging from $2,000-$15,000. In previous years, work was submitted on behalf of 435 nonprofit organizations from 88 different countries.
This year, PhotoPhilanthropy will be honoring professional, amateur, and student photographers. Each photographer whose work is accepted receives a page on our website and exposure to a growing audience of concerned and committed global citizens.
- Before entering the Activist Awards, please review our Submissions Guidelines.
- Once the guidelines have been reviewed, you may submit your essay.
- If you have additional questions, please refer to our list of FAQs.
- If you have questions regarding how to create an effective photo essay, please refer to our Photo Essay Tips.
- If you would like more information about how to further distribute your photo essay, please refer to our tips to Share Your Work.
- If you have additional questions that were not answered with the above information, you can email us at firstname.lastname@example.org.
winning tips for submitting to photo contests
Ami Vitale is an award winning photojournalist whose long and distinguished career has taken her to more than 85 countries, and garnered her exhibitions and assignments worldwide. She’s also spent considerable time entering her images and serving as a judge for numerous photo contests including PhotoPhilanthropy’s 2010 Activist Awards. Her work has won multiple awards from World Press Photo, POYi, and The Lucie Awards, among others.
In a recent conversation with PhotoShelter co-founder Allen Murabayashi, Ami shares her key tips and insights for submitting work to photo contests, including:
- Which contests are worth your time and effort
- The most common mistakes photographers make when submitting work
- The importance of properly researching contests and tailoring your submission
- How to determine the right photo contest for you
Watch Ami’s webinar here: