James Morgan’s ‘Coral Triangle’ in London

Regular readers will know we have featured the work of James Morgan here a couple of times this year. That is partly because his work is so compelling but also because he shows how photography and social awareness can work so well together without being images of doom & gloom. Fans of James’ work will be pleased to know that there will be several opportunities to view it soon, the only catch is you have to be in London in the coming days.

29 April – Screening of short film ‘People of the Coral Triangle‘ at Somerset House (evening).

4 May onwards – Photographic exhibition at the Royal Geographic Society (Travel Photographer of the Year).

11-24 May – Photographic exhibition at the Hot Shoe Gallery, Farringdon.

‘The Leaves Keep Falling’ – Ed Kashi on the legacy of Agent Orange in Viet Nam

Ed Kashi does great visual story telling.  With his work ‘Oil & Conflict in the Niger Delta‘ he not only told a compelling story but got together with OSI and Revenue Watch to put his images to targeted use. This time round he turns his lens to the legacy of Agent Orange in Viet Nam.

In ‘The Leaves Keep Falling‘ we see the lives of two families impacted by the use of Agent Orange (a chemical defoliant) by the US military during its war in Viet Nam. It is touching, sad and heart warming in equal measure. Personally, I would have ditched the sound track as it is too obvious, and there was no need to have the girl crying at the end – the point had been made. But small points in what is a fantastic piece.

LICADHO video – forced evictions in Cambodia

LICADHO, a Cambodian NGO that works to stop forced evictions, has produced this video summarising their work, with focus on campaign tactics. WITNESS have been providing support to up their capacity to use video, and Amnesty International have added international advocacy elements, particularly through their office in Australia.

Yong’s Story – the death penalty in Singapore

You should watch this. Not because its a great film but because it shows bread and butter, committed human rights activism against the death penalty. When you have watched it you might want to sign here and follow the Amnesty International Urgent Action below.

URGENT ACTION

23 year old malaysian man faces execution

Yong Vui Kong, a 23-year-old Malaysian man, has exhausted his appeals against a mandatory death sentence in Singapore. He is at immediate risk of execution unless the Malaysian authorities and others press Singapore’s President to grant clemency.

On Monday 17 January, Singapore’s Court of Appeal reserved judgment on Yong Vui Kong’s case. His counsel had appealed for his execution to be stayed on the grounds that he had been denied a fair clemency process.

In Singapore the decision for clemency rests with the President, on the advice of the Cabinet. In December 2009 the President rejected Yong Vui Kong’s petition for clemency. Later that month, the High Court postponed the execution to allow the Court of Appeals time to hear an application for a stay. The refusal of the Court of Appeal to grant a stay has given a green light for Yong Vui Kong to be hanged.

Last July, Malaysian officials called on Singapore to spare Yong Vui Kong’s life. Malaysia’s foreign minister, Anifah Aman, announced, “I will be writing to the government of Singapore to plead for his clemency.” Malaysian legislators have also called for clemency.

Yong Vui Kong was sentenced to death in January 2009 for trafficking 47 grams of diamorphine (heroin), a crime committed when he was 19 years old. Singapore’s Misuse of Drugs Act makes the death penalty mandatory for trafficking more than 30 grams of heroin, leaving judges no discretion to hand down alternative sentences.

Singapore’s law also presumes trafficking in all cases involving the possession of over 2 grams of heroin, which shifts the burden of proving that no trafficking was involved from the prosecution to the defendant. This violates the core human right to be presumed innocent of a crime until proven guilty.

PLEASE WRITE IMMEDIATELY in English or your own language:

  • Urging Singapore’s President to reconsider Yong Vui Kong’s clemency petition and commute his death sentence, which was mandatorily imposed
  • Urging Malaysian Foreign Minister Anifah to press Singaporean President Nathan to reconsider Yong Vui Kong’s clemency petition and commute his death sentence;
  • Reminding Malaysia Foreign Minister’s Anifah of his commitment to call for clemency for Yong Vui Kong, a Malaysian who is also a native of Anifah’s home state of Sabah.

PLEASE SEND APPEALS BEFORE 4 MARCH 2011 TO:

Foreign Minister of Malaysia

His Excellency Datuk Seri Anifah Amam

Ministry of Foreign Affairs

Wisma Putra

NO 1 Jalan Wisam Putra, Precinct 2

62602 Putrajuya, Malaysia

Fax: +60 3 8889 1717

Email: webmaster@kin.gov.my

Salutation: Your Excellency

President of Singapore

His Excellency SR Nathan

Office of the President

Orchard Rd

Istana

Singapore 0922

Fax: +65 6735 3135

Email: s_r_nathan@istana.gov.sg

Salutation: Your Excellency

And copies to:

Editor-in-Chief

The Star

Menara Star

15 Jalan 16/11

46350 Petaling Jaya

Singapore

Fax: +60 03 7955 4039

Email: editor@thestar.com.my

Also send copies to diplomatic representatives accredited to your country. Please check with your section office if sending appeals after the above date. This is the fourth update of UA 296/09. Further information: www.amnesty.org/en/library/info/ASA36/004/2009/en http://www.amnesty.org/en/library/info/ASA36/005/2009/en; http://www.amnesty.org/en/library/info/ASA36/007/2009/en

The Coral Triangle

Young child plays with his pet shark, Wangi Wangi, Indonesia. Copyright James Morgan.

Back in May I interviewed James Morgan about his photographic work with NGOs. He mentioned then a project he was just about to start documenting the life of the Bajau Laut, semi-nomadic ocean dwellers who live in the Coral Triangle off the coast of Sulawesi, Indonesia. Well, now some of that project has been published. Sponsored by the Royal Photographic Society the work looks at the life of the Bajau and how it is increasingly coming into conflict with the environment due to economic pressures.

Ibu Ani Kasim looks on as her son, Ramdan, forages the reef for clams. Since Ani's husband died of the bends after diving on compressor, she has relied on her son to support her during the six months of the year they spend together at sea. Sulawesi, Indonesia, 18 April 2010. Copyright James Morgan.

James has now received funding from the World Wildlife Fund to document the Coral Triangle, described as the underwater equivalent of the Amazon. You can check out more on James’ work on the New York Times ‘Lens’ blog, watch the multi-media story here, and join the Coral Triangle FB page to learn more about this amazing environment.

‘Even Though I Am Free I Am Not’ – photographic activism for Burmese political prisoners

U Win Tin, Burma's most prominent former political prisoner. The veteran journalist and founding member of the NLD spent more than 19 years in Insein prison. COPYRIGHT (C) James Mackay ENIGMA IMAGES/www.enigmaimages.net

Today is Daw Aung San Suu Kyi‘s birthday, her fifteenth under house arrest in the past twenty years. Preparations for elections in Myanmar (Burma) later in the year have already drawn widespread criticism regarding highly restrictive elections laws, particularly those that bar the jailed political opposition (including Suu Kyi) from participating. Past experience has lead many to fear that as the elections approach restrictions on freedom of expression, association and assembly will be tightened.

James Mackay’s documentary photography project – ‘Even Though I’m Free I Am Not’ – started in 2009, is very timely. The project took second place in the political photojournalism category at the prestigious Prix de la Photographie Paris 2010 awards last month and focusses on Burma’s political prisoners – both those now free and those still imprisoned. James (not his real name – he prefers to remain anonymous) has travelled to South East Asia, Australia, Japan, Europe, USA, Canada as well as into Burma itself to capture images for the project. Using a simple hand gesture duplicated by over 160 former political prisoners the project has a powerful presence.

I caught up with James via email to put a few questions to him about the project. My thanks to James for providing such detailed and passionate answers to my questions, truly an activist photographer.

[All images are taken from "Even Though I'm Free I Am Not" and used by kind permission of Enigma Images. Image Copyright (C) ENIGMA IMAGES/enigmaimages.net].

***

U Kyaw Myint was jailed for 3 years in Insein prison. Image Copyright (C) ENIGMA IMAGES/enigmaimages.net

REP – How did ‘Even Though I’m Free I Am Not’ come about?

JM – I’ve had a focus on Burma for some time and the idea for a project on political prisoners came when I was working undercover in Burma a few months after the ‘Saffron Revolution’. I was documenting places in Rangoon where people had been shot and killed, monasteries that had been raided and closed down, and sites where hundreds of innocent people had been beaten and arrested. These were just ordinary places but with an extraordinary hidden meaning. It was at these places that so many people had become political prisoners so it was a natural progression to create a piece about the political prisoners themselves.

Throughout 2008 I worked on the idea, trying to find a way to visually represent political prisoner without being too direct and obvious. I like to work with hidden meanings and so didn’t want to show ‘prisoners’ or ‘jail’. I certainly didn’t want a link to ‘crime’, after all these people are not criminals. But most of all I wanted to create something that would raise awareness about the issue and be emotionally powerful enough to express the horrendous situation political prisoners face in Burma. There is a very strong bond that unites all the political prisoners – both former and current – it’s as though none of them will really be free until all of their colleagues behind bars are too. So, I decided the best way was to photograph former political prisoners and come up with a way to visually link them to their colleagues still in jail.

The final piece in the jigsaw was the Abhaya Mudra. Buddhism is an important part of Burmese life and culture so to incorporate it into the project was a natural fit. The raised palm is the link between the former political prisoners and their colleagues still imprisoned. It is the Buddhist mudhra (hand gesture) called the Abbhya Mudhra which represents ‘fearlessness’. The name written on the palm is the name of a colleague suffering in jail in Burma. This simple symbolic gesture of the palm being shown becomes an act of silent protest, remembrance and fearlessness. It is integral to the whole project as it shows that even though they’re free they are not.

In January 2009 I discussed the idea with colleagues, former political prisoners themselves working on the Thai-Burma border with an organization called the Assistance Association for Political Prisoners (AAPP). From the start I believed the idea could work on many levels however I was adamant that I would only carry out the project if the very people whose lives I wanted to document agreed that it was a good idea. I never once saw this project as my work or about me as a photographer – it’s their story that needs to be told and I had just come up with a way to do it. Luckily everyone loved the idea so we took some portraits and now eighteen months later I’ve photographed and interviewed more than 160 former political prisoners all over the world.

Ma Khin Cho Myint was jailed for 6 years in Insein and Moulmein prisons. Image Copyright (C) ENIGMA IMAGES/enigmaimages.net

REP – What is the aim of the project? What do you think these photos can achieve?

JM – The aim of the project is to raise awareness about political prisoners in Burma and the situation there. Burma is a closed country – very little comes out and even less gets in. The military regime has ruled the country in a brutal, authoritarian manner since seizing power in 1962. The authorities strictly monitor all contact with the outside world. Journalists are systematically jailed so the world knows very little about what’s going on inside the country. It’s extremely dangerous for foreign journalists to go to Burma, not necessarily for themselves but for the people they come into contact with. It’s really important that people understand that. There are currently 2,186 political prisoners in Burma and later this year the regime will be holding the first elections for more than 20 years. The last election in 1990 was won overwhelmingly by the National League for Democracy, the opposition party lead by Daw Aung San Suu Kyi. Yet the regime refused to hand over power, instead jailing hundreds including newly elected MPs. The elections due this year are simply a charade to entrench military rule and they cannot be considered credible when there are so many political prisoners in jail. Whilst I want to keep the issue of political prisoners in the spotlight I also want to highlight the suffering faced by former political prisoners who remain inside Burma and those who have been forced to flee into exile, often living as stateless people. This is why photographing the former political prisoner wherever they are in the world helps tell the story. Unspeakable torture, directly contravening international law routinely takes place in Burma’s jails but it doesn’t end there. Once freed from prison the jail sentence never goes away as the authorities persistently harass former political prisoners, refusing them homes or work, constantly monitoring their every move. Some have managed to be resettled to third countries but often alone, their families left behind in refugee camps or worse still back in Burma where they now face constant persecution. The project is an attempt to put pressure on the international community to demand the release of all political prisoners and to help tell the stories of those forced to leave Burma. The project will go on until all political prisoners in the country are released.

Phone Myint Tun was jailed for 4 years in Insein prison. Image Copyright (C) ENIGMA IMAGES/enigmaimages.net

REP – Have you been working with any activists or organizations? Is there a structured campaign?

JM – Although I came up with the concept for the project it’s only really been through working in collaboration with the former political prisoners themselves that it’s become what it is today. There are two organizations who I’ve been working very closely with over the past 2 years and without their help it simply wouldn’t have been possible. They are the Assistance Association for Political Prisoners (Burma) and the Democratic Voice of Burma (DVB). Both these organizations have been indispensable. It has now become a collaboration between all of the former political prisoners around the world which is the best way because after all it’s about them and their colleagues still in jail.

In the past few months I have been in discussions and working closely with Amnesty International UK. They are now incorporating this project into their campaign on Burma this year in the run up to the elections and beyond. We are going to be asking people around the world to stand in solidarity with the former political prisoners and demand the release of all political prisoners still in jail. It has the potential to be a very big campaign indeed, so watch this space!

Bo Kyi was jailed for 7 years in Insein and Tharawaddy prisons. Image Copyright (C) ENIGMA IMAGES/enigmaimages.net

REP – There must have been some serious security issues in shooting the project. How did you handle these?

JM – Regarding security, it is vital you understand the situation inside Burma as this is where the real danger lies. Any person that you meet with is potentially at risk. Even if you are just a tourist, a casual glance, making eye contact with someone in a tea shop can lead to them being questioned. I’ve seen this happen. The authorities are paranoid and have a total distrust of foreigners. The country is ruled by fear and contact with foreigners can bring extreme retribution. So you have to constantly be aware that anyone you meet, even innocently, could be implicated in anything you do, and if you are doing something like this project then obviously the dangers increase tenfold. We’re carrying out political acts in immediate defiance of the regime – if we were caught the people I’m photographing would get 10-20 years, maybe more. No doubt about it. But the extraordinary thing is the risks they are willing to take in order to get the message out to the world, in order to stand in solidarity for their colleagues in jail. If someone is willing to take that risk then we have a duty to help them get that message out. Obviously, I can’t go into details but I work with some of the best people on the ground both inside and outside the country. Everything is meticulously planned.

I have been privileged to meet more than 160 former political prisoners around the world, including inside Burma. Knowing them is the greatest honor and provides me with inspiration for everything I do. Every story is both compelling and heartbreaking at the same time, yet whether meeting senior NLD members inside Burma or exiled activists living in a mountain village in Norway, their courage and their determination knows no bounds. Every single one has suffered unimaginable experiences in jail – torture being common. Political prisoners are routinely kept in solitary confinement and often hundreds of miles from their family home so visits are all but impossible. Healthcare is non-existent for political prisoners and at least 143 have died in jail. The International Committee of the Red Cross (ICRC) stopped inspecting prisons in December 2005 due to the military regimes interference in their work. To read more in depth stories and experiences of life behind bars for political prisoners you can go to the AAPP website where there are a huge number of first hand testimonies.

REP – What of the future? With the elections in Burma approaching any initiatives in the pipe-line?

JM – This is the most critical year in Burma’s recent history. The elections are nothing more than a sham to perpetuate military rule disguised as a civilian government. Political Prisoners have been barred from any role in shaping the future of the country and the National League for Democracy have been outlawed and forced to disband. The International community has a vital role to play, with ASEAN in particular and the United Nations, in not letting the Burmese regime get away with what they are doing. Dialogue is an essential tool to try to make headway with the ruling regime but how can you have serious dialogue when most of the people you need to be talking with are in prison? The elections will bring nothing new to Burma and its impoverished population.

I have some other projects in the pipeline… but I can’t tell you about them here… you never know who might be listening in! Thanks very much for this opportunity to talk and raise awareness about Burma’s Political Prisoners.

***

You can catch up with the latest on the project at the project’s blog.

For those of you in London Amnesty International UK will be exhibiting work from ‘Even Though I Am Free I Am Not’ from 21 to 24 June at the Human Rights Action Centre, 17-25 New Inn Yard, London. EC2A 3EA.

Also of interest and linked to this is AI UK’s ‘Break the silence, buy radios for Burma’. Check out this video and web page for more details.

James Morgan – stories of universality from the margins

A teenage girl goes into a trance and rushes to the ocean during a Balinese-Hindu spirit cleansing pre-nyepi ceremony in Bali, Indonesia. Copyright James Morgan.

I came across the work of James Morgan via the photographs he shot on child trafficking in Nepal and India. Going through his website I was further drawn to his work partly because of the focus on Asia, but also because of his emphasis on compassion and respect for those whose stories he told.

Suitably impressed I decided to track him down (at least by email – the guy travels a lot) in order to get an insight into his working methods. A big thanks to James for taking the time and effort to respond to my questions despite his busy schedule.

***

REP: You emphasize in your approach to photography ‘compassion, respect and understanding’ for the people and issues you photograph. Practically, how do you implement such an approach and what do you feel the outcome is for those you picture?

James: I think it all comes down to story telling, being conscious of whose story it is you’re telling and, just as importantly, who you’re telling it to. On the face of it, it’s simply a question of telling your subject’s story in as close to their own voice as possible – but, in reality, it’s a lot more complicated than that. I believe that story telling is as much about creating atmosphere as it is about progressing through a logical series of events. It’s a case of representation through translation. Counter intuitive as it may sound for documentary photography, I find my work hugely subjective and, for me, the space that arises out of that is what constitutes the artistic element. I use photography in the same way as I’d use a paintbrush and I’d like to think that this approach allows me to get closer to the ‘truth’ than a more linear narrative might.

One of Aman's cousins examines the photograph we took to Aman's family. The photograph pictures Aman holding his gymnastics medals. Copyright James Morgan.

Photography is the best way I’ve found to tell the story of people with no voice to an audience of people with no ears. My interest is in people who live at the margins of global society, not just socio-economically but in all senses. I have a tenuous theory that by looking at the fringes of societies all over the world and getting a better understanding of where and how cultures overlap I’ll be able to tap into symbolism and emotions that carry meaning universally. That’s definitely the most touching part of my work – when I notice a hand gesture or a thought pattern that I’ve seen before on the other side of the world or watch kids listening open-mouthed to folk tales that run along the same framework as stories a thousand miles away. So I guess, to answer your question, I hope that by travelling so extensively and working with people at the edges of so many societies, all marginalized for different reasons, I can begin to understand how best to translate people’s stories in a way that more and more people can understand. One aspect I really want to start working on now is creating feedback loops for the people I photograph. Just sending them a newspaper article with their picture and some text in a language they can’t understand isn’t enough, I’d like to come up with a way in which they can directly witness the impact their story is having – although of course it’s difficult, I couldn’t tell you where half the people I photographed this year are now. It’s definitely an area I’d like to see NGOs focusing on more – traditionally the audience of NGO funded photo essays are potential donors but I’d like to start being more creative and enabling the people I work with to be both participants and observers in the stories.

REP: How does your work with NGOs differ from other assignments? At what stage are you brought in, and how much input do your have in the way images are used in the NGOs communications?

James: My work with NGOs doesn’t differ dramatically from other assignments, my style fits well with the needs of NGOs so I can normally photograph and construct narratives in much the same way as I would for editorial assignments. Fortunately NGO budgets haven’t been slashed in the same way as editorial ones have recently, which allows me to spend more time and go deeper into a particular issue. Previously I haven’t had much input into the way NGOs use my images, but as technology evolves and new platforms emerge for disseminating these stories I’m hoping to be able to consult NGOs in distribution as well as production. I’ve been talking recently with a company based out of China who do cinematic projections inside inflatable domes. At the moment the technology is too expensive for most NGOs – but the potential is enormous. Not only can the domes be put anywhere with enough space, the skins of the domes are translucent and so the show can be watched from inside or outside, symbolically coherent with the aims of most NGOs. But there are endless things that could be done with multimedia that are only just starting to happen, it all depends on the NGO in question, all organizations have their own tone for outreach, some prefer more conservative approaches, some appreciate more guerilla style marketing. There are a number of grants springing up at the moment for photographer/NGO collaborations that provide funds to be spent directly on exploring new methods of disseminating social issue photography.

A young Nepali boy who, having got lost and inadvertently crossed the border into India, has wound up in an youth detention center in Bankura, West Bengal. The authorities won't allow us to repatriate stray children without running a paperwork assault course throughout North India. Copyright James Morgan.

REP: You were involved in a project looking at child trafficking in Nepal. How did this come about, how did you approach representing the issue and children (ethical issues, giving ‘voice’, positives/negatives), and how were the photos used by the anti-trafficking organisation?

James: The Project in Nepal was with The Esther Benjamin Trust (ebtrust.org). I was actually on my way to Bhutan to photograph there but got stuck in Kathmandu for a few days. Whilst I was there I read an article by Soma Wadhwa about Nepalese girls living in Mumbai’s notorious red light district. After reading it the entire city [Kathmandu] looked different, I could feel it in the streets, it was really eerie, so I started making some inquiries and shot a few initial images before I left for Bhutan. When the founder of EBT saw the photos he commissioned a month long piece which gave me the freedom to follow the child trafficking trail right down across the border into India. A year later I am still receiving increasingly well-spelt emails from a few of the older children I worked with.

Stylistically I decided to concentrate primarily on portraiture, shooting very few images that alluded directly to trafficking. Contrary to everything you’re supposed to do as a photojournalist, I decided to show these images out of context hoping to create a series of images that represented a group of children rather than a group of trafficking victims.

EBT used the images in promotional material, in print and on the web. I think there was also a gallery exhibition in London and some newspaper articles. As always I feel as though a lot more could be done with the images but it would have to justify diverting time and money into media and away from more immediate concerns which is always a difficult call to make.

Pak Lukas Ayello, who has spent his whole life not more than a hundred metres from the ocean, regales me with Papuan folk tales in Selpeli Village, Irrian Jaya, Indonesia. Copyright James Morgan.

REP: Much of your work is presented as multi-media pieces/photo essays. Do you feel this has opened wider possibilities in story telling than just stills on their own? What in your experience are the lessons both young photographers and NGOs can learn in using multimedia to tell compelling stories?

James: Multimedia is the future of on-line story telling, without doubt. And NGOs are well ahead of editorials in realizing this (or at least budgeting for it!). For NGOs particularly it makes complete sense, the production costs needn’t be much more than traditional stills work. When I work for NGOs now I routinely produce audio, stills and moving images and, when it’s done right, I think it’s an incredibly powerful combination.

Having said that I think the best way to tell a story is to tell it in as many ways as possible. I am starting a project in a few days on the Bajau Laut, a group of semi-nomadic ocean dwellers living off the coast of Sulawesi. For this project I will certainly produce a multimedia piece for onl-ine use but I’ll also do a traditional photo essay with a written article for print as well as a gallery exhibition of a few select images. All these formats tell the story differently and invite you to engage with the material in different ways.

Check out more of James work here.

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