Showing posts with label photography. Show all posts
Showing posts with label photography. Show all posts

Monday, 16 July 2012

Mine victims, by Nick Jubber


In a flaky pink apartment block in the Nahader district, a girl with henna on her hands pulled back the metal door and ushered me up the stairs. In a large room fringed with cushions, I sat on the woollen rug of a guest room while Mohammed Ali, director of the local mine victims’ association, prepared tea on a coal stove. I had come to listen to Ahmed, a student in his early twenties who was involved in a landmine accident a couple of years ago.
  ‘I was visiting my friend in an area south-east of Laayoune, about three hundred kilometres south,’ said Ahmed. He was an angular young man in his early twenties, his square-cut face softened by his glasses. ‘I was in the Land Rover with my friend’s father, Mohammed Nadher. He kept camels and around three hundred goats and we were driving between his tent and the field where he kept his goats when the back wheels went over an anti-charge. I remember running – about fifty metres away – I just ran – it was only when I was away from the explosion that I understood what had happened. My friend’s father was lying on the ground near the car. I pulled him away but the explosion had torn his feet open so he couldn’t walk. His sons heard the explosion and they came to find us, followed by the police who took us to Mohammed’s tent.’
  An ambulance came, much later, carrying Ahmed and Mohammed to the military hospital in Laayoune.
  ‘But,’ he explained, ‘they only looked at our injuries. I was burned all the way up my leg. They refused to do anything for us, so we were taken to another hospital, and by this time it was too late to save Mohammed’s foot so his toe had to be amputated.’
  It was only after several months of recovery that Mohammed went back to his flock; but now, unsteady on his feet, he was unable to herd them as well as in the past, so he sold up and moved to Laayoune.
  ‘What about you?’ I asked. ‘Did you have any after-effects?’
  ‘I hear a buzzing in my ears sometimes,’ he said, ‘but I am strong, I’m not afraid.’
  For Mohammed Ali, it was clear who was to blame.
  ‘The Moroccan government,’ he said, ‘doesn’t even publicise the mine situation – there are no posters about it, they never mention it on TV or radio, so people aren’t educated about it. Especially people who live in the desert – they need to know about the mines but many of them don’t even know what a mine looks like.’
Saharawi landmine victim (in the camps).
Photo by Bernat Millet
  Mohammed and Ahmed talked angrily of the Moroccan government’s failure to sign the Ottawa accord guaranteeing reparations to victims, or to make substantial efforts to map the mined areas.
  ‘It’s not only Morocco who planted the mines,’ said Mohammed, ‘Mauretania, Spain and the Polisario have all been responsible, but it is Morocco that has the authority here and they do nothing to help us. We’re Saharawi – we love the desert, it’s part of us. I like to spend my time in the city but also in the desert. But we have to be so careful when we go into the desert because of the mines.’
  ‘Without the desert,’ said Ahmed, ‘we are like fish out of water. But how can we use the desert when we are afraid we may step on a mine?’

Monday, 18 June 2012

Sahara Nights review

The Roundhouse Studio-Theatre was filled to the brim last week for Sahara Nights on June 6. The multi-arts launch for the Studio-Live music empowerment project brought the house down with an array of film, photography, short story presentations and wonderful music to provide rich glimpses of the Saharawi world, culture and plight. 

Nigerian playwright and poet Inua Ellams,
Saharawi short stories readings, with Celtic violinist Lizzie Ogle and
Guinean kora player Mosi Conde © See Li

The launch was interlaced with fantastic first-class performances from a wide range of international artists...

Guinean kora player Mosi Conde
with photography by Ed Harriman © Tania Jackson

British-Congolese Binisa Bonner
from Ruby and the Vines © See Li
Venezuelan Luzmira Zerpa
from Family Atlantica © See Li

Hispano-Saharawi
singer and guitarist
Suilma Aali and percussionist
Nico Roca © Bela Molnar

The evening culminated with a stellar performance from Aziza BrahimBorn in the refugee camps, educated in Cuba and now based in Spain, Aziza is considered the new musical voice of the Saharawis, dedicating all her songs to the struggle. Her music is inspired by her poetess grandmother Mabruk, the only Saharawi female poet who has dedicated all her poetry to documenting the 16 years of war and to whom Aziza has dedicated her new album (released June 11).

Aziza with Spanish guitarist
Gonzalo Ordás © Bela Molnar



Aziza and Gonazalo © See Li
Aziza Brahim © Julia Ridlington


Sahara Nights was capped with the mother of all jam sessions. Virtually all the musicians of the evening joined along with a few new guests from Algeria to rocket the night into another music stratosphere that got the room dancing with abandon.


Final jam session © Julia Ridlington

What people have said:

It was a rich and diverse gathering with original and soulful music and poetry (hearing Aziza live and discovering her grandmother was incredibly emotional). Your passion and dedication for the Saharawi cause and its people was truly palpable. Meriem Aissaoui


Aziza and the Sahara Nights crowd © See Li
A fantastic evening and very informative in a sensitive way. Thomas Elliot

What an amazing evening. Congratulations on such a success, and thanks so much for letting me show part of our film. You know how important your support was to us when we started filming so I'm forever indebted to you. Saeed Taji Farouky

Monday, 4 June 2012

Photography

This is a taster for the amazing photography you'll be seeing at Sahara Nights.


Women raising tents, Ed Harriman
Ed Harriman graduated from Amherst College in Mass., USA. He has dedicated his life to producing political and investigative documentaries and is a regular contributor to the London Book Review. Has worked closely with John Pilger on a number of films and just recently finished a film investigating massive scale US corruption linked with “rebuilding” Iraq.


View of Smara camp, Bernat Millet

Bernat Millet is a Spanish London-based photographer and visual media artist who recently won the Taylor Wessing Photographic Portrait Prize (2011), having one of his pictures on Saharawi landmine victims exhibited at the National Portrait Gallery (London). His project Saharawis aims to expose the consequences of state violence by Moroccan forces as well as the ineffectual efforts of the UN and international community to resolve the situation. 



Starry night, Andrew McConnell
Andrew McConnnell is an award-winning Irish photographer who began his career as a press photographer covering the closing stages of the conflict in his homeland before transitioning to more in-depth social documentary work around the world. His images have appeared internationally in publications such as National Geographic Magazine, Newsweek, Time magazine, The New York Times, The Guardian, FT Magazine, Vanity Fair, the Sunday Times Magazine, Der Spiegel, L’espresso, and Internazionale. His collection The Last Colony is an innovative and highly personal portrayal of the Saharawi people.

More info:
Andrew McConnell: www.andrewmcconnell.com