Yvonne’s family live without piped water or sanitation but they own three Smartphones, one tablet, a laptop and a TV. Far from being luxuries these devices are likely to be their way out of poverty. Her two oldest daughters are very clever and technologically able.
Yvonne works at the Gugu Dlemini AIDS Foundation. She says:
It took me a long time to come out of that shell that made me less confident, but eventually I thought to myself that it was something I had to do. In my community many people suffer from these situations. It’s also because we are less educated, so we see no reason, or feel ashamed to speak about these kinds of things. We still live in a community that is dominated by men, making women feel less adequate.
As a woman this also affects me. I am also HIV positive, and I am deaf too. This has brought a lot of misunderstandings and difficulties for myself and other people. People find it hard to communicate with me. Some people think that there is something wrong with me. I misinterpret what they are saying. This causes me to distance myself from people. It has also caused problems with my relationships with men in my life as they take advantage of me.
Thulile, Simiso and Jennifer are currently presenting their work at the Durban Art Gallery as part of the Through Positive Eyes show, coinciding with the International AIDS Conference. The show has been designed by Stan Pressner and Carol Brown to enable the participants to tell their stories and interact with projections of their work.
Here is an extract from Thulile’s story:
‘I have been living with HIV for 25 years, I was born with it.
As a kid they told me I would not live past 7. When I lived past 7 years old they told me I wouldn’t live past 10….
When my neighbors found out, they stigmatized me.
I discovered I could do things to help myself. I am strong. I am beautiful. I am a positive woman. I won’t let anyone discriminate me. I have survived.
When I don’t feel well I talk to my virus. I say ‘don’t misbehave! If I get sick you won’t have anyplace to live.’ I must love myself and be positive to myself. I am a hero. We are all human, we all need love. We are strong. We are beautiful. We are positive.
Elizabeth is currently presenting her work at the Durban Art Gallery as part of the Through Positive Eyes show, coinciding with the International AIDS Conference. The show has been designed by Stan Pressner to enable the participants to tell their stories and interact with projections of their work.
Here is an extract from Elizabeth’s story:
‘Hello, I’m Elizabeth. I was diagnosed HIV+ in 2008.
At birth I was taken away from my mother, she was mentally unstable. I grew up in the Homes. I had fun growing up with my age group, with only one or two housemothers we had lots of freedom to interact and live.
As time went on I was put in a foster home. I was abused badly at this place. It was a difficult time for me, the hardest time in my life. I felt like my childhood was taken away from me.
I spoke up and eventually was removed from this home.
In 2008 I found out I was HIV+. I actually had many friends around me who were positive. I asked them questions and I’ve learned to live with it.
I moved on. I continued to use alcohol and drugs. I had two children. The first I gave up for adoption. The second, I decided to keep. The day the doctor put her in my arms, I fell in love.
New Year’s day last year, I decided to change my way. I’d been going around and around in circles. I want to find myself. I decided I wanted to pull myself together.
I’ve decided to come out about it all, especially living with HIV. Now I want to encourage young girls to love themselves, to trust themselves, to speak up….’
I’m just back from working on the final chapter of this international arts and advocacy project, in which HIV+ve participants photograph their lives to combat stigma.
I teach photography, and co-edit the work with the participants, alongside Gideon Mendel and Prof. David Gere’s team from the Art and Global Health Centre at UCLA.
A major exhibition featuring work from all ten cities has just opened in Durban to coincide with the 21st International AIDS Conference, which begins on the 18th July. The HIV+ve photographers will work as guides and speakers at the show.
I’ll post work from the Durban group during the conference, starting with Silungile.
Silungile is a sangoma or traditional healer as well as an educator, HIV activist and grandmother. Here are a selection of her photographs.
This mysterious photograph of the Calais ‘Jungle’ is the work of 18 year-old Esyas (his name has been changed), an artist from Eritrea. He is taking part in the Displaces photo project set up by Prof. Corinne Squire.
I’ve been working alongside Gideon Mendel, teaching photography and editing the results of a two day workshop. We’ve left cameras with refugees to document their lives in the camp. I’ll post more images as the project progresses.
Esyas’ photograph conveys the atmosphere of this place which is not a place. A landfill site full of people, now partially bulldozed back into the ground. There is a stark simplicity to the landscape which makes it feel like an allegory: the camp, the fence, the road, the police, and the bulldozers. Yet everywhere there is a flickering of different lives and cultures: the scraps of possessions burnt or ploughed into the earth, the Eritrean church, the mosque, the library, the cafes and the figures playing football or just staring at the horizon.
Itinerant donkey owners working in Gujarat’s brick kilns spend 24 hours a day with their donkeys. They live, work, play and abide together. The donkeys’ welfare is entirely in the people’s hands. So who are they, and how do they live alongside their animals? I hope these photographs from MA Ambapur kiln near Ahmedabad will help show how these two societies live together.
Itinerant brick kiln workers use WhatsApp to stay in touch.
Donkey owner-drivers working in the brick kilns of Gujarat and Uttar Pradesh are paid every Friday, but receive a lump sum payment at the end of the brick-making season. This allows them to buy Indian-made smartphones costing about 5,000 Rupees each.
Most donkey owners are itinerant and may be away from their home villages for many months at a time. The phones allow them to stay in touch, both with family members, and friends working in other kilns. They’re also a status symbol for the young. Using WhatsApp is cheap and may be a spur to literacy for a largely unschooled workforce.
Madhupur Village near Agra, Uttar Pradesh. Virat (13) who likes to be known as ‘Brad’ with his smartphone. He good-naturedly photographs every move the UK photographer makes.
In the UK animal traction and haulage are things of the past – relegated to the heritage industry. In India draft animals play a key role in the modern economy. Aside from their use in agriculture, donkeys and mules are essential to the construction industry. The livelihoods of many thousands of marginalised families are reliant on the welfare and efficient functioning of their teams of donkeys and mules. These photo stories take a look at this industry.
India is experiencing a building boom to cope with its rapid urbanisation. Thousands of concrete-frame high rise blocks, with brick infill, can be seen rising up around Delhi and Mumbai. Almost every one of the millions of bricks involved has been transported by donkey or mule at the brick kilns where they are made. So how does it work?
Donkeys have a blind spot immediately in front of them, but can see right round to their hind legs – though not behind their head.
Simply mounting a wide angle camera on a donkey’s head won’t tell us how a donkey really ‘sees’ the world. But it can tell us something about its working life. Its movements, its height, the rhythm of its work, how it directs its attention and perhaps how it relates to people and other donkeys.
This donkey shot 2,700 photographs over a 45 minute period as it went about its repetitive work at a brick kiln in Gujarat, India. This selection of its work will tell you as much about what I think makes an interesting photograph as it does about donkey consciousness. But that would apply if I had shot them myself.
This is a male horse with his owner Rohtas. They work in a brick kiln. They both live in a house with plastered and painted walls and electric light.
This is a mule with his owner Vedpas. They also work at the brick kiln. The mule also has a nice bedroom, though not quite as nice as the horse’s bedroom.
This is a buffalo with her owner Annar Devi. The buffalo has a bedroom, though its not painted, has no electric light and is open on one side. She has a sacking blanket to keep her warm.
This is a goat, Somehow it seems to have got a plastered and painted bedroom.
These are donkeys with their owner Harish. They all work in a brick kiln with Harish. They sleep outside in the rain. Harish puts their pack saddles on in the evening to keep them warm, and to stop the crows from pecking at the saddle wounds on their backs.
This is the bedroom of Harish’s older brother Mahender – standing on the left. Mahender made a good marriage with a good dowry. The room is plastered and painted and has electricity.
This is the bedroom at the back of the house where their parents (on the right) and Mahender’s mule sleep. It’s made of brick but it’s not plastered or painted and it doesn’t have electricity.
With thanks to everyone at Khesikala and Madhupur, and to TDS India
Gurgaon, a city outside Delhi, India, is undergoing a boom in construction fuelled by the new Metro link and Delhi’s need for young professionals. Almost every brick in the country has been carried by donkeys during its manufacture. In Gurgaon they also work in lieu of cranes.