Long March

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Day One

Dhaka to Gazipur

Bangladeshi citizens began a long march from Dhaka to Dinajpur to protect the country’s natural resources. The march began at Muktangon in Dhaka with a rally and the first day ended in Gazipur with a cultural programme. People joined along the way. The march will end with a rally at Phulbaria in Dinajpur on the 30th October 2010

Latest update from Taslima Akhtar: 9:43 am. 25th Oct 2010: Rally now headed for Tangail District. Via Konabari and Chondra.
Update from Taslima Akhtar: 12:01 pm 26th October 2010: Rally left Sirajgonj, heading to Bogram via Hotikimrun and Gurkha Point. Stopping soon for lunch.
Long March leaving Sherpur for Bogra Shodor. Source Taslima Akhter 16:35 pm. 26th Oct 2010
Arrived at Bogra. Public Meetings. Overnight in Bogra: Source Taslima Akhter 19:48 pm. 26th Oct 2010
Heading 2 Mahasthangar, St. rally n Mokomtola upazila. lunch @ Gobindogonj then 2ward Gaibandha: Source Taslima Akhter 11:58 am 27/10/2010
Arrived in Gaibandha. Source Taslima Akhter 14:35 pm 29/10/2010
Left Gaibandha for Rangpur at 10:00 am. Will be passing through Sadallahpur and Madargonj upozilas before stopping at Peergonj where we will have lunch at noon: Taslima Akhter 11:42 am 28/10.2010
Left Rangpur. Expect to arrive in Sayedpur around noon via Paglapeer and Taragonj. Numbers steadily growing as more people join the procession: Taslima Akhter 10:49 29th October 2010

Concert along the way. Long March. Photo: Taslima Akhter

More recent photos by Taslima Akhter of Long March

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- The Long March of the National Committee to Protect Oil-Gas and Power-Port. reached Bogra on Tuesday. The committee started their Long March to Phulbari Coal Mine in Dinajpur from Dhaka on October 24 to press home its 7-point demand. The demands include expulsion of Asia Energy from Bangladesh and cancel its deal with the government on Phulbari coal mine. The March reached Dinajpur on October 30. Bogra, Bangladesh. October 27, 2010 ? Mahabub Alam Khan/DrikNews

Garment worker leader Moshrefa Mishu amongst many other leaders who attended the rally. Shahidul Alam/Drik/Majority World


Towards the beginning of the march as it goes past the secretariat. Paltan. Shahidul Alam/Drik/Majority World

The March as it goes through Shantinagar in Dhaka. Shahidul Alam/Drik/Majority World

The Long March makes its way through Dhaka city. At Moghbazaar before turning toward Rampura. Photo: Shahidul Alam/Drik/Majority World

Others join the group as it goes through Tejgaon. Shahidul Alam/Drik/Majority World

Construction workers looking on. Photo: Shahidul Alam/Drik/Majority World

Part of the march was by bus, with rooftops used as there were too many people. Photo: Shahidul Alam/Drik/Majority World

Vegetable Khichuri for lunch. Photo: Shahidul Alam/Drik/Majority World

Many others join in Gazipur where an evening cultural programme is also held, before more speeches. Photo: Shahidul Alam/Drik/Majority World

Onlookers trying to get a peek at the stage. Photo: Shahidul Alam/Drik/Majority World


The Pale Blue Dot

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By Carl Sagan

Seen from 6 billion kilometers away, Earth appears as a tiny dot (the blueish-white speck approximately halfway down the brown band to the right) within the darkness of deep space. The Pale Blue Dot is a photograph of planet Earth taken in 1990 by Voyager 1 from a record distance (6 BILLION kilometers. In the meantime, Voyager is more than 16 billion kilometers -10 billion miles- away), showing it against the vastness of space. By request of Carl Sagan, NASA commanded the Voyager 1 spacecraft, having completed its primary mission and now leaving the Solar System, to turn its camera around and to take a photograph of Earth across a great expanse of space
“From this distant vantage point, the Earth might not seem of particular interest. But for us, it’s different. Consider again that dot. That’s here, that’s home, that’s us. On it everyone you love, everyone you know, everyone you ever heard of, every human being who ever was, lived out their lives. The aggregate of our joy and suffering, thousands of confident religions, ideologies, and economic doctrines, every hunter and forager, every hero and coward, every creator and destroyer of civilization, every king and peasant, every young couple in love, every mother and father, hopeful child, inventor and explorer, every teacher of morals, every corrupt politician, every “superstar,” every “supreme leader,” every saint and sinner in the history of our species lived there ? on a mote of dust suspended in a sunbeam.

The Earth is a very small stage in a vast cosmic arena. Think of the rivers of blood spilled by all those generals and emperors so that, in glory and triumph, they could become the momentary masters of a fraction of a dot. Think of the endless cruelties visited by the inhabitants of one corner of this pixel on the scarcely distinguishable inhabitants of some other corner, how frequent their misunderstandings, how eager they are to kill one another, how fervent their hatreds.

Our posturings, our imagined self-importance, the delusion that we have some privileged position in the Universe, are challenged by this point of pale light. Our planet is a lonely speck in the great enveloping cosmic dark. In our obscurity, in all this vastness, there is no hint that help will come from elsewhere to save us from ourselves.

The Earth is the only world known so far to harbor life. There is nowhere else, at least in the near future, to which our species could migrate. Visit, yes. Settle, not yet. Like it or not, for the moment the Earth is where we make our stand.

It has been said that astronomy is a humbling and character-building experience. There is perhaps no better demonstration of the folly of human conceits than this distant image of our tiny world. To me, it underscores our responsibility to deal more kindly with one another, and to preserve and cherish the pale blue dot, the only home we’ve ever known.”

River and Life

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They meander and glide. They unfurl with the rage of monsoon fury. Quietly they flow in the misty winter morn. Rivers thread the fabric of our land. Embroider patches of fertile delta. They are the nakshi kantha of our rural folklore. Life giver, destroyer, enchanter, they have inspired the greatest myths, formed the tapestry for the most endearing love songs. Our Bhatiali has been shaped by the lilt of the boatman?s lyrics drifting across the waves.

It is this fluid, amorphous, ephemeral and elusive visual that Kabir tries to hold in his rectangular frame. It is a frame heavy with the burden of its task. The rivers that float like a gossamer across the green delta hold untold stories. Tales of strife and endurance. Of the fullness of life. Of abundance ebbed, and anger unleashed.

Kabir finds the rapidly disappearing sailboat drifting in the late afternoon light. The extinction of this species owes not to the depletion of its habitat, or to the oft-blamed climate change, but the advent of technology. Oil guzzling, deep tube well engines have unseated the wind from its traditional role.? A lone sail, bright red and taut against a blue sky defiantly throws a gauntlet to the mechanized usurper.

Swirling swathes of jute cleanse themselves in the very water that nurtured them in their youth. Wispy traces of boatmen recede into the darkness of dusk. The cool blue light of the evening sky wraps itself round a homebound farmer. Barefoot women, walk home after a day?s work, like a string of pearls along the sandy shores of a receding river. Parched river beds, like a desert amidst the oasis, make horizon-less paths for weary travelers to tread.

Fishermen, silhouetted against a brooding sky, cast their nets more in hope than in expectation. Overfishing of uncared for rivers, bloated with toxic waste, yield little to those who have made the river their home. Indeed it is their ancestral home. A liquid home that knew no government deeds, and obeyed no official maps. But the rules have changed. City folk whose feet walk only on the cool marble of urban dwellings own fishing rights to rivers they may never have seen. The fishermen who were raised in these waters are now outlawed in their own turf.

Still the river gives. Joy and thrill to the racing crews that steer swiftly through the monsoon breeze. Respite to the sun baked skin of naked boys, sari clad maidens and heavy hoofed buffalos. Turgidity to the parched leaves of the newly planted grains of rice. Looming clouds in azure skies to the poet who longs for whispering words. Winding arcs of sinewy lines to the painter?s canvas in search of form.

The great rivers, once bountiful and brimming, have formed the supple spine of our deltaic plains. Choking in silt, poisoned by waste, waterways throttled by land grabbing encroachers, the lifeblood of our deltaic plains weep dry tears as their once glistening bodies writhe in pain. It is a pain city dwellers are deaf to. A pain that short sighted politicians and profit seeking urban planners have no time for. Kabir rejoices in the vigour of the river. Is saddened by its pain. His portrait of the river shows both its wrinkles and its smile.

Photographs: Kabir Hossain
Text: Shahidul Alam
The exhibition “River and Life” by Kabir Hossain will remain open until the 17th July at the Drik Gallery II from 3:00 pm till 8:00 pm

Salt Water Tears

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photography by
Munem Wasif

text by
Francis Hodgson

plus an exclusive?audio interview about this project, plus?another short interviewabout his evolving style as a photographer.

Every ecosystem has its fragile balance. That much we have already learnt. Scientists routinely now seek to document the excesses that will lead to imbalance, even where they can do nothing about them. And sometimes, just sometimes, legislation and implementation and eventually protection may follow.
In the far south-west of Bangladesh, Munem Wasif shows us just what these abstract-sounding paradigms mean in practice. Nobody knows certainly why the water levels are changing in the Bay of Bengal, but they are. In a famously low-lying country, more and more people are under threat of catastrophic flooding. Coastal erosion, too, is accelerating, a matter of grave concern in a country where (under the pressure of population) every inch of usable land is at a premium.
Munem Wasif found a region where changes to a single measurable fact ? salinity levels in the water table ? can be seen to have affected every part of the matrix of balances. Salinity has risen. The old agriculture is no longer possible because the old plants simply can?t grow. Shrimping ? a new industry ? has grown up, largely for export, using fewer workers and threatening the livelihood of many others. Shrimping in turn exposes more land to salt or brackish water. Farmers are reduced to occasional labour. Established structures of work and the societies centred on work change and break down.
Many people have to venture into the mangrove swamps of the Sundarbans (a national park on the Indian side of the border, but not yet on the Bangladeshi) to fish or to collect roofing materials which used to be available closer to hand. In the Sundarbans they are exposed to a terrifying catalogue of risk, including attack from dog sharks, crocodiles, king cobras and the Bengal tiger. Women (it?s always the women) have to go ever farther in search of fresh water. New diseases become frequent, obviously connected to all these changes, but not yet provably so. So it goes on, a kaleidoscope of interconnected shifts, not fully understood, and not half predictable with accuracy.
Munem Wasif has not gone to this blighted region to show us the abstractions of climate-change experts or the theories of macro-economists. Photography deals in the particular, and this project deals in the very particular. Wasif is himself Bangladeshi. Not for him the flak-jacket, the adrenaline rush, and five hours in the red zone. These are his people, although not quite in his part of the country. The accent is different but the language is shared. Wasif in fact rented a motorcycle to complete this commission, and when he tells you the names of the people in the pictures it?s because he met them and heard them, and knew them a little.
The pictures, then, are almost by definition subjective. Too much ink has been spilt trying to work out when and whether photographers tell the truth. These pictures are absolutely personal to Wasif, absolutely his expression of his sentiments. But that doesn?t stop them being also a remarkable ? and true ? document of what is happening in the interplay of some of the complex of variables in this corner of Bangladesh.
Photography reads big and small. Wasif shows you Johura Begum?s long arm reaching out to her husband as he dies of cancer of the liver, that simple tenderness is the only available healthcare in a village whose population are in desperate need. It?s a little tiny truth, certainly. The husband died, the woman lived on, widowed. The photographer was there, he knows. But it is also and at the same time a complex of many metaphors. There are many pictures like this because this scene has been played out so many times all over the world. It?s a picture ?about? infrastructure and financing, too, as well as morality and ethics. In another searing picture, containers of fresh water are dragged on foot in boats through clinging sterile mud. Shajhan Shiraj and his brothers from Gabura, we?re told, travel three hours in this kind of way every day. Stunted trees, clear water only in the distance, three men, three boats, and the keel-trail they etch in the mud. It?s not just a beautiful picture: the irony of boats travelling so painfully slowly by land with water as their only cargo is unimaginably painful.
There is a powerful crossover in the way pictures work. Read these pictures only as little truths and they will wrench out your heart. Read them as big truths and they will drive you towards planning practical effort for change. you don?t need to know that Johura Begum?s husband was called Amer Chan to be moved to action by Wasif.
We read about donor fatigue, compassion fatigue. Every viewer of these pictures will have at some point the sense of having seen them before. Salgado in the Sahel, just as shocking, maybe more. Very similar in feel and tonality. But it is not up to the photographers to provide us with new scenes. As long as those scenes are there and look the way they do, photographers will continue to show them to us. Some people will look at Wasif?s pictures here and call them derivative, and they?ll be right. But it isn?t fashion. There is not going to be a new length of trousers this season in the liver cancer business. Photographers can only do so much. If viewers are tired of being harrowed, tired of seeing these scenes one shouldn?t have to look at, perhaps we can understand that it?s the viewers who need to perk up their ideas, not the photographers. Munem Wasif, for one, is doing his bit. Now it?s up to us.
? Francis Hodgson
Head of Photographs, Sotheby’s
Chairman of Judges, Prix Pictet
from the essay Munem Wasif: Tiny Truths, Big Truths
Munem Wasif was shortlisted for the?Prix Pictet in 2008. As an integral element of the prize, Pictet decided to commission one of the shortlisted artists to record a water-related project. These photographs are the result.

What Matters

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The World’s Preeminent Photojournalists and Thinkers Depict Essential Issues of Our Time

Sterling. 2008. 335p. ed. by David Elliot Cohen. photogs. index. ISBN 978-1-4027-5834-8. $27.95. POL SCI

An ice cave on the edge of the Marr Ice Piedmont on Anvers Island,
Cover photo by GARY BRAASCH: An ice cave on the edge of the Marr Ice Piedmont on Anvers Island,

PHOTOGRAPHY EXPOSES TRUTHS, advances the public discourse, and demands action. In What Matters, eighteen important stories by today?s preeminent photojournalists and thinkers poignantly address the big issues of our time?global warming, environmental degradation, AIDS, malaria, the global jihad, genocide in
Darfur, the inequitable distribution of global wealth and others. A “What You Can Do” section offers 193 ways to learn more and get involved.
A four-year-old girl in Ghana walks two-and-a-half miles (four kilometers) twice each day to fetch buckets of water for her family.
Back cover inset by BRENT STIRTON: A four-year-old girl in Ghana walks two-and-a-half miles (four kilometers) twice each day to fetch buckets of water for her family

Photographed by:

Shahidul Alam ? The Associated Press ? Gary Braasch ? Marcus Bleasdale ? Raymond Depardon ? Paul Fusco ? Lauren Greenfield ? Maggie Hallahan ? Ed Kashi ? Gerd Ludwig ? Magnum ? Susan Meiselas ? James Nachtwey ? Shehzad Noorani ? Gilles Peress ? Sebasti?o Salgado ? Stephanie Sinclair ? Brent Stirton ? Tom Stoddart ? Anthony Suau ? Stephen Voss

SATHI?S FACE is covered with carbon dust from recycled batteries. She is eight years old and works in a battery recycling factory in Korar Ghat, on the outskirts of Dhaka, Bangladesh.
SATHI?S FACE is covered with carbon dust from recycled batteries. She is eight years old and works in a battery recycling factory in Korar Ghat, on the outskirts of Dhaka, Bangladesh. ? Shehzad Noorani/Drik/Majority World

Commentary by:

Omer Bartov ? Judith Bruce ? Awa Marie Coll-Seck ? Richard Covington ? Elizabeth C. Economy ? Helen Epstein ? Fawaz A. Gerges ? Peter H. Gleick ? Gary Kamiya ? Paul Knox ? David R. Marples ? Douglas S. Massey ? Bill McKibben ? Samantha Power ? John Prendergast ? Jeffrey D. Sachs ? Juliet B. Schor ?
Michael Watts

A MEMORIAL to the 1994 Rwanda genocide at the Church of Ntarama, in Kigali Province. Photograph by Raymond Depardon
A MEMORIAL to the 1994 Rwanda genocide at the Church of Ntarama, in Kigali Province. ? Raymond Depardon

What Matters?an audacious undertaking by best-selling editor and author David Elliot Cohen?challenges us to consider how socially conscious photography can spark public discourse, spur reform, and shift the way we think. For 150 years, photographs have not only documented human events, but also changed their course?from Jacob Riis?s expos? of brutal New York tenements to Lewis Hine?s child labor investigations to snapshots of torture at Abu Ghraib prison. In this vein, What Matters presents eighteen powerful stories by this generation?s foremost photojournalists. These stories cover essential issues confronting us and our planet: from climate change and environmental degradation to global jihad, AIDS, and genocide in Darfur to the consequences of the Iraq war, oil addiction, and the inequitable distribution of global wealth. The pictures in What Matters are personal and specific, but still convey universal concepts. These images are rendered even more compelling by trenchant commentary. Cohen asked the foremost writers, thinkers, and experts in their fields to elucidate issues raised by the photographs.
A WOMAN TAKEN to an emergency feeding center in Somalia established by the Irish charity CONCERN waits for food and medical attention. Photography by James Nachtwey.
A WOMAN TAKEN to an emergency feeding center in Somalia established by the Irish charity CONCERN waits for food and medical attention. ? James Nachtwey.

Some stories in What Matters will make you cry; others will make you angry; and that is the intent. What Matters is meant to inspire action. And to facilitate that action, the book includes an extensive ?What You Can Do? section??a menu of resources, web links, and effective actions you can take now.
A PIPELINE carrying drinking water to more prosperous districts of India?s largest city, Mumbai (population 20 million), passes through the shantytown of Mahim, where it serves as an impromptu thoroughfare. Photography by Sebasti?o Salgado.
A PIPELINE carrying drinking water to more prosperous districts of India?s largest city, Mumbai (population 20 million), passes through the shantytown of Mahim, where it serves as an impromptu thoroughfare. ? Sebasti?o Salgado.

Cohen hopes What Matters will move people to take positive steps??no matter how small??that will help change the world. As he says in his introduction, the contributors? work is so compelling that ?if we show it to you, you will react with outrage and create an uproar.? If, says Cohen, you look at these stories and think, ?What?s the use? The world is irredeemably screwed up,? we should remember that, historically, outraged citizens have gotten results. ?We did actually abolish slavery and child labor in the US; we abolished apartheid in South Africa; we defeated the Nazis; we pulled out of Vietnam. As the saying goes, ?All great social change seems impossible until it is inevitable.? ?
PHILANTHROPIST Abdul Sattar Edhi with a few of the many thousands of children he has helped. Shahidul Alam
PHILANTHROPIST Abdul Sattar Edhi with a few of the many thousands of children he has helped. Shahidul Alam/Drik/Majority World

– Michael Zajakowski, Chicago Tribune
TRANS AMADI SLAUGHTER is the largest slaughterhouse in the Niger Delta. Workers kill thousands of animals a day, roast them over burning tires and prepare the meat for sale throughout the delta. Fish was traditionally the main source of protein here, but fish stocks have dwindled due to overfishing and oil pollution. Ed Kashi
TRANS AMADI SLAUGHTER is the largest slaughterhouse in the Niger Delta. Workers kill thousands of animals a day, roast them over burning tires and prepare the meat for sale throughout the delta. Fish was traditionally the main source of protein here, but fish stocks have dwindled due to overfishing and oil pollution. ? Ed Kashi

A. Newspapers and Online
1. Hard to see, impossible to turn away – Issues and images combine in ‘What Matters,’ a powerful and passionate new book
“Great documentary photojournalism, squeezed out of mainstream newspapers and magazines in an age of shrinking column inches, has had a hard time gaining traction in other venues… But nobody has told the 18 photographers in “What Matters: The World’s Preeminent Photojournalists and Thinkers Depict Essential Issues of Our Time.” These are photo essays by some of today’s best photojournalists following the great tradition begun over a hundred years ago with the expos?s of New York tenement life by Jacob Riis. Through the doggedness of these photographers?who are clearly committed to stirring us out of complacency?all the power and passion of the medium is evident in this book… Some of the pieces will break your heart, some will anger you. All will make you think. To channel your thoughts and feelings into action, the book ends with an appendix “What You Can Do,” offering hundreds of ways to be a part of the solution to these problems.”
Chicago Tribune Book Review, 2 page spread
2. “Must viewing.”
San Francisco Chronicle, 2 page story
3. Photographs that Can Change the World
“David Elliot Cohen?s new book, What Matters, which hits bookshelves today, is a collection of photo essays that explore 18 distinct social issues that define our time. Shot by the world?s most renowned photojournalists, including James Nachtwey, who has contributed to V.F., the photographs explore topics ranging from genocide and global warming to oil addiction and consumerism, offering a raw view into the problems that plague our world. Each photo essay is accompanied by written commentary from an expert on the issue. Cohen hopes the book will inspire people to work toward resolving these problems. ?Great photojournalism changed the world in the past, and it can do it again,? Cohen says. ?I want people to see these images, get angry, and act on that anger. Compelling images by the world?s best photojournalists is the most persuasive language I have to achieve this.?
vanityfair.com
4. Book Review: What Matters
“Changing the world might sound like a lofty goal for a photo book, but that?s what the new book, What Matters, The World?s Preeminent Photojournalists and Thinkers Depict Essential Issues of our Time edited by David Elliot Cohen (Sterling Publishing, $28, 2008), hopes to do. Citing the power of socially conscious photographers over the last 150 years, the beautiful collection of 18 photo-essays by some of today?s prominent photojournalists hopes to ?inform pre-election debate and inspire direct action.” Regardless of what side of the political fence you sit on, this collection of heartbreaking and powerful stories and images is guaranteed to get you thinking.”
Popular Photography
5. What Matters: The World’s Preeminent Photojournalists and Thinkers Depict Essential Issues of Our Time.
Those doubting the power of photojournalism to sway opinion and encourage action would do well to spend some time with this book. In 18 stories, each made up of photos by leading photojournalists and elucidated by short essays by public intellectuals and journalists, this book explores environmental devastation, war, disease, and the ravages of both poverty and great wealth. The photos are specific and personal in their subject matter and demonstrate how great photography can illuminate the universal by depicting the specific. Cohen has a goal beyond simply showcasing terrific photography. In his thoughtful introduction, he makes explicit his aim to connect the work compiled here with the great tradition of muckraking photography that helped to change conditions in New York tenements and to end child labor at the turn of the last century. A terrific concluding chapter directs readers to specific actions they can take if they are moved to do so by the book’s images, and it’s hard to imagine the reader who would not be moved. Highly recommended for public libraries and academic libraries supporting journalism and/or photography curricula. (a starred review in Library Journal generally means the book will be acquired by many libraries.)
Library Journal
6. First of five part series about What Matters
(The first installment drew 500,000 page views)
CNN.com
7. Second part in CNN. Black Dust by Shehzad Noorani

A Two Day Visa

They sing in harmony. Rhythmic tunes with simple lyrics. The lilting songs and the dance-like-footsteps have a deceptive beauty. The metal sheets balanced on their shoulders may weigh tons. Bare feet on slippery clay weaving through scrap metal, is dangerous at the best of times. In pouring rain, and with the loads they carry, the smallest slip could spell disaster. They gently sway in careful steps singing to stay in synchrony. It is a song of death.


Online Norwegian version in Dagbladet
shipbreaking-magazinet1?PDF in Norwegian Magasinet
dagbladet-nyhet?PDF in Norwegian Nyhet
“You wouldn’t have the time” he’d said. It was a polite conversation. Salahuddin, the cousin of Jahangir Alam, had rung me to thank me for helping him get an ambulance at the Apollo Hospital in the elite Bashundhara Complex in Bangladesh’s capital Dhaka, 250 kilometres from the port city Chittagong. Despite the hospital’s motto of “Bringing healthcare of international standard within the reach of every individual,” it was understood that all patients were not equal. Jahangir and his family had been waiting for over five hours. The hospital was for rich people and Jahangir, a worker at Ziri Subeder Shipbreaking Yard was undeniably poor. Even though the money had been paid, Jahangir, on his deathbed was not going to get the same treatment the other VIP patients at Apollo were given. Eventually the presence of a pesky journalist taking pictures had enough nuisance value for the hospital to dredge up an ambulance. Jahangir would arrive at a cheaper, less equipped hospital in Chittagong, in the early hours of the morning. Knowing I was interested in the plight of the workers, Salahuddin had rung to tell me there had been another accident. A worker was in hospital and they were going to amputate his leg. He felt my presence might save the man’s leg. I was due to go to London the following day, for a brainstorming meeting with Amnesty International. Going to and from Chittagong that day would have been difficult. I had things to do before leaving. Salahuddin was right. Even though I knew that my presence might perhaps have made a difference to a man’s life. I didn’t have the time. We never have the time. Not for some people.
The working conditions at the shipbreaking yards of Chittagong are well known. It is the usual story. In order to get the ships, the Bangladeshi shipbreakers pay the best rates to the ship-owners. To retain their profits, they pay the workers the lowest rates in the world, and provide virtually no safety. Workers die and suffer injuries on a regular basis. Some receive modest compensation, others don’t. According to workers, many deaths are simply not registered with the bodies being ‘disappeared’ by the owners.
I had wanted to do a story on the shipbreaking yards for some time. When Halldor Hustadnes of the Norwegian newspaper Dagbladet approached me I was immediately interested. I rescheduled a short assignment in Manila so that we could work together for the entire period. A loophole in the Basle Convention was allowing ship-owners to continue dumping ships with toxic waste with abandon in majority world countries that had little regulation.
The new International Maritime Organisation, convention was about to be ratified, but environmentalists felt it would not result in better conditions for workers. Norwegian ship-owners, who benefitted the most from loopholes in the convention (like the ships not being declared waste, and therefore not falling under waste jurisdiction), were a powerful lobby. Even Lloyds the insurers, who register and control the world’s shipping, felt the new convention would not have an effect.
We were hoping our story, timed to appear before the ratification of the convention, would bring attention to the plight of the workers. Getting access to the yard was going to be the main stumbling block. My student Sourav Das, put me in touch with Wahid Adnan. Adnan had good links with Rahman yard. We had been told that the Norwegian ship UMA was berthed at Rahmania yard. The slightly different name might just have been due to a mistake in communication. There was a ship UMA near Rahman yard. This was a breakthrough. Adnan managed to get me in, but though it was the right ship, it was the wrong yard. UMA was going to be broken at Royal, the yard next to Rahman, where we had no access.

The unique continental shelf near Chittagong allow ships to be brought right up to the beach. UMA at Royal Shipyard.
The unique continental shelf near Chittagong allow ships to be brought right up to the beach. The Norwegian ship UMA at Royal Shipyard. 8th August 2008. Chittagong. Bangladesh ? Shahidul Alam/Drik/MW/Dagbladet

So we started with the access we had, and worked our way across the porous beach. It was a Friday. The weekend in Bangladesh. We utilised the absence of the manager to bluff our way into the ship. The abundance of asbestos, the open chemical store, the sacks of Potassium Hydroxide pellets and other toxic chemicals left unprotected, were all fairly visible. One of the workers talked of the films they had been shown about how asbestos was toxic, and had to be buried under concrete and that workers needed to wear protective clothing. “But that was just a film” he said.
Young men work on the ship handling asbestos and other toxic chemicals.
Young men work on the ship handling asbestos and other toxic chemicals. 8th August 2008. Chittagong. Bangladesh ? Shahidul Alam/Drik/MW/Dagbladet

Shujon and co-workers wading through toxic waste as they pull ship parts into the yard. 8th August 2008. Chittagong. Bangladesh ? Shahidul Alam/Drik/MW/Dagbladet
Shujon and co-workers walking through toxic waste as they pull ship parts into the yard. 9th August 2008. Chittagong. Bangladesh ? Shahidul Alam/Drik/MW/Dagbladet

Shujon was the smallest of the workers. With marigolds dangling from his ears, he insisted on being photographed. He behaved like a child, though we found out he was older than he looked. Only wealthy Bangladeshis have birth records. And with most children being malnourished, looks can be deceptive. Shujon was a helper. Hirolal, the cutter he was helping, didn’t look much older than him. They were cousins. Shielding his eyes from the intense heat with his hands, Hirolal, broke down larger pieces of metal into more manageable shapes. Shujon cleared the debris, oblivious to the sparks that flew around him. Both boys wanted to find work overseas. Singapore was their dream destination. I didn’t tell them that Bangladeshi workers in Singapore, often found themselves in similar bonded labour. At least Shujon and Hirolal had a dream. The contractor came over and started beating up Shujon. He needed to get on with his work. We were getting him into trouble and kept our distance.
An angry contractor beat up Shujon and warns him against talking to us.
An angry contractor beats up Shujon and warns him against talking to us. 9th August 2008. Chittagong. Bangladesh ? Shahidul Alam/Drik/MW/Dagbladet

Welding goes on into the night. Often welders do not have protective glasses which are expensive and they have to pay for.
Welding goes on into the night. Often welders do not have protective glasses which are expensive and not supplied by the yard. 9th August 2008. Chittagong. Bangladesh ? Shahidul Alam/Drik/MW/Dagbladet

Ship propellors are made of expensive metal and require special cutting skills and very high heat.
Ship propellors are made of expensive metal and require special cutting skills and very high heat. 9th August 2008. Chittagong. Bangladesh ? Shahidul Alam/Drik/MW/Dagbladet

Early in the morning Rubel (14) begins ferrying workers from the beach to the ships being stripped. He has been doing this job for three years.
Early in the morning Rubel (14) begins ferrying workers from the beach to the ships being stripped. He has been doing this job for three years. 10th August 2008. Chittagong. Bangladesh ? Shahidul Alam/Drik/MW/Dagbladet

Early the following morning I saw Rubel, bailing out the water from a lifeboat. Rubel was 14 and had been a ferry ‘man’ since he was 11. His mother didn’t really want him to be doing risky work, but they needed the money. We left before sunrise, before the manager arrived. Rubel was well into his day’s work.
That night when the manager had left, we went back into the yard and slept with the workers. We were guests and had the luxury of having a metal sheet to ourselves for a bed. They sung for us that night. Not the pop songs that we heard on television, or the Tagore songs that the wealthy elite took as a sign of culture. They were haunting songs of longing and parting. One was a song about visas:
With a two day visa
To this false world
Why did Alla send me
Why send me here
With the pain of seeking comfort
He sent me on my own
What game did he play
What game does he play
Using metal sheets for beds, workers sleep in crowded huts with no toilets.

Using metal sheets for beds, workers sleep in crowded huts with no toilets. 11th August 2008. Chittagong. Bangladesh ? Shahidul Alam/Drik/MW/Dagbladet

With an empty water bottle and a wooden box as a drum, we sang into the night. Their raw voices blending with the steady rain on the tin roof. “We are poor folk. There’s work tomorrow. We need to sleep.” The foreman said abruptly. We knew the songs had been sung for the entertainment of the guests, at the cost of much needed rest. I walked out into the rain. The tide was coming in. UMA was glistening in the yard searchlight. The guards in their yellow raincoats stood out in the darkness.

UMA, a ship formerly owned by the Norwegian company Odfjell, is beached at Royal Ship Yard in Chittagong.

Beaching master Captain Inam by the Norwegian ship New Berge at Habib Ship Yard, which was beached by him.
Beaching master Captain Inam by the Norwegian ship New Berge at Habib Ship Yard, which was beached by him. 11th August 2008. Chittagong. Bangladesh ? Shahidul Alam/Drik/MW/Dagbladet

Captain Inam was a boisterous jovial man. He was the most experienced beach captain, and the de-facto spokesperson for the shipyard owners. He was much in demand. When we wanted to speak to the owners, they insisted that the good captain be around. The owners spoke little, leaving it up to the articulate seaman to fend our questions. They invited us over to Bonanza, a posh restaurant in downtown Chittagong. One of the many businesses owned by Mr. Amin, in whose yard two other Norwegian ships, the Gold Berge and New Berge were also being stripped. Captain Inam explained how the ship-owners who made the bulk of the profit took no responsibility for the situation of the workers. How they should allocate a percentage of their profits to building a modern shipyard in Chittagong. How these environmentalists were in collusion with the Northern ship-owners and working towards increasing their profits. Of how the shipyard owners really felt for the workers. Of how they provided helmets, and gloves and shoes to all workers, but that workers didn’t want to wear them. None of this matched with what the workers had to say. “A pair of shoes cost us 500 Taka” they said. That was four days’ wages for the average worker. Odfjell the Norwegian owner of UMA had made 7.5 million dollars from the sale of the dying ship.
The foreman cutter of Royal Ship Yard in his home. He claims attempts to set up a union have been brutally quelled by the shipyard owners.
The foreman cutter of Royal Ship Yard in his home. He claims attempts to set up a union have been brutally quelled by the shipyard owners. 11th August 2008. Chittagong. Bangladesh ? Shahidul Alam/Drik/MW/Dagbladet

The foreman cutter talked of how he had escaped death but the person next to him had died due to poisoned gas in the hull of a ship. He took us to his one room house where the parents and the two children shared a bed that almost occupied the entire room. He talked of the four times they had tried to set up a union. Each time the local goons were used to beat them into submission. The main organisers were tortured and lost their jobs. Captain Inam, has a different version. “There are no restrictions to forming unions.” He says. “The workers are simple people and don’t think in those terms.”
Security officers and contractors at Royal Shipping Yard.
Security officers and contractors at Royal Shipping Yard. 12th August 2008. Chittagong. Bangladesh ? Shahidul Alam/Drik/MW/Dagbladet

The number of injuries have gone down enormously says the captain. Now there are hardly one or two a year. They take us to the hospital they are building, to reduce medical fees paid to external hospitals. We never went into the logic of requiring to build a hospital to reduce costs if only one or two deaths and a few injuries were taking place all year.
One of the workers Saiful takes us to a nearby village. Walking a few hundred metres, we come across several families of injured workers. A few say they have received modest compensation. Some say they’ve received nothing. Even though these injuries were from a few years ago, the frequency of injuries has little in common with the captain’s figures.
Shahin, an NGO worker who has been campaigning for the rights of shipyard workers, rings us to tell us of an accident that has just taken place. We rush over to Chittagong Medical Hospital (CMH). As all other public hospitals in Bangladesh, CMH is overrun. The three workers were carried up the five flights of stairs and lay on the hospital floor. There were no spare beds. Jahangir was the most badly injured. His head was bleeding, and he couldn’t move. He was barely conscious. The other two workers had broken limbs but would survive. There were no stretchers and Jahangir’s family and friends, took him across to a less busy part of the hospital floor, carrying him on a stretched sheet.
Jahangir Alam being moved to a quieter part of Ward 28 in Chittagong Medical Hospital. They use a stretched sheet as there are no stretchers available.
Jahangir Alam being moved to a quieter part of Ward 28 in Chittagong Medical Hospital. They use a stretched sheet as there are no stretchers available. 12th August 2008. Chittagong. Bangladesh ? Shahidul Alam/Drik/MW/Dagbladet

Critically injured worker Jahangir Alam lying on the floor of Chittagong Medical Hospital Ward 28.
Critically injured worker Jahangir Alam lying on the floor of Chittagong Medical Hospital Ward 28. 12th August 2008. Chittagong. Bangladesh ? Shahidul Alam/Drik/MW/Dagbladet

We contact Al Hajj Lokman Hakim, the owner of Ziri Subedar Yard. Mr. Hakim is angry. “They have accidents because of their own stupidity. Sometimes they have minor injuries, and we have to pay for it. If these foreigners care so much about our workers why don’t they build a new dock for us?” Cursing everyone in sight as we go down the lift of his highrise building, the Lokman Tower, Mr. Hakim drives off in his shiny car. A 5.5 million Taka car according to our driver.
Lokman Tower, the office of Al Hajj Lokman Hakim, the owner of Ziri Subedar, the shipyard where Jahangir Alam was injured. The cart being pulled in the foreground carries steel rods used for construction, which are made from scrap metal obtained from ships.
Lokman Tower, the office of Al Hajj Lokman Hakim, the owner of Ziri Subedar, the shipyard where Jahangir Alam was injured. The cart being pulled in the foreground carries steel rods used for construction, which are made from scrap metal obtained from ships. 14th August 2008. Chittagong. Bangladesh ? Shahidul Alam/Drik/MW/Dagbladet

Al Hajj Lokman Hakim's house in Chittagong. He is angry that we have arrived and does not want to answer questions.
Al Hajj Lokman Hakim in his house in Chittagong. He is angry that we have arrived and does not want to answer questions. 14th August 2008. Chittagong. Bangladesh ? Shahidul Alam/Drik/MW/Dagbladet

The news was more than Jahangir’s mother Nurjahan could take. Her eldest son had an accident a year ago. Two months ago her husband had died. Two weeks later, Alamgir, Jahangir’s younger brother had been injured while working in a different yard. The yard owner had paid for Alamgir’s treatment, but there was no knowing if he would ever be able to work again, or how long the owner would keep paying for the treatment. Jahangir had been the only earning member of the family. As it was, the family depended upon the generosity of the neighbours for their survival. Jahangir’s injury had left the family in tatters. “It is poverty that has driven my sons to this life,” says Nurjahan. “If my Jahangir returns, I will never send him to the yard again.”
Jahangir's mother Nurjahan and his younger brother Alamgir.
Jahangir’s mother Nurjahan and his younger brother Alamgir, in their home. 15th August 2008. Chittagong. Bangladesh ? Shahidul Alam/Drik/MW/Dagbladet

Jahangir never returned. On the night of the 6th September, Jahangir had spoken. He seemed to be on the verge of recovery. He would never walk again, but at least he would live. The following morning Shahjahan heard he had died. Shahjahan knew that the company had been concerned about the rising medical bills, and wondered if Jahangir’s death had been necessary to keep the bills down. One thing was certain. His two day visa had expired.
The ship owners in Norway, will never know he lived.

Profits versus the Poor

?I have lost a son, maybe I?ll lose another, but I won?t let them setup a coalmine here.? To Tahmina Begum who had lost her son Toriqul to police bullets, her land was also her family. It could have been a ?B? rated western except that it is set in the east. People wanting to hang on to their ancestral land versus mining companies wanting huge profits. There have been only minor changes from previous scripts. When farmers wanted fertilizers and seeds, the police had opened fire killing them, when they wanted electricity to irrigate their soil, the police had opened fire killing them. Now that they want to retain their land rather than have it converted into coal mines again the police have opened fire killing them. The Shaotals, being indigenous minority groups, find themselves even more vulnerable within this persecuted community. In the shootings on the 26th September 2006, in Phulbari, Dinajpur, in northwestern Bangladesh, at least six villagers are known to have been killed, over a hundred are said to be missing.

Continue reading “Profits versus the Poor”