The resurgence of violence in Central African Republic has made life for the country’s children harsher and more dangerous than ever before. Two-thirds are in need of humanitarian assistance and yet, with schools, hospitals and places of worship increasingly under attack, the places they can go to for protection, support and medical assistance are ever fewer
All photographs by Ashley Gilberston for VII Photo/Unicef
If you follow the yellow-brick road in Ghana, it does not take you to the Land of Oz’s Emerald City, but rather to La – a district in the capital Accra.
This is where artist Serge Attukwei Clottey periodically carpets the dusty streets with giant yellow plastic tapestries.
Clottey told the BBC his work is about property rights. The residents of many poor communities in Africa cannot prove land ownership because they do not have the paperwork.
Each of the squares is cut from a distinctive type of jerrycan, known in Ghana as a “Kufuor gallon” – named after former President John Kufuor – and then sewn together to form plastic carpeting.
In the early 2000s, when Mr Kufuor was in power, there were water shortages and the large yellow containers began to be seen around the country as people used them on their long treks to collect water.
Some are still in use, but many now lie discarded and Clottey repurposes them for his art, which he calls “Afrogallonism”.
Clottey estimates that he has used 30,000 Kufuor gallons since 2005 when he started using them in his artwork.
About 3,000 of them have gone into the yellow-brick road project that began in 2016, he says.
The artist works with an assistant, but local people also get involved in cutting up the Kufuor gallons and stitching the pieces together.
They are excited to be making an artwork that gets to be shown in their home rather than sent around the world – and they are happy that it draws foreign visitors to La, Clottey says.
He sketches what he wants the work to look like, but its exact form emerges organically as different people get involved.
As part of the project he also gets people to help him collect the Kufuor gallons.
Clottey goes to dumpsites with friends and they dress up in drag to symbolise how the Kufuor gallons are associated with women.
People take the Kufuor gallons that they have collected to Clottey’s workshop, where they are weighed and paid $3 (£2.30) per kilogramme.
Clottey expects to complete the project in 2020 when he hopes to have marked out an area in La which he says belongs to his family.
The 25th annual exhibition by the Open Society Documentary Photography Project elevates the voices of refugees, migrants and asylum seekers.
In recent years, photographers from all over have flocked to countries affected by the refugee crisis, following the travails of migrants seeking refuge in Turkey, Greece and Lebanon. Others went to the source of the exodus, highlighting tragedies in Myanmar, Afghanistan and South Sudan.
In “Another Way Home,” the 25th annual “Moving Walls” exhibition series by the Open Society Documentary Photography Project, migration takes center stage not only because of our times, but because it has been a constant theme throughout the series’ history.
This one stands out for what it lacks: images of suffering.
After receiving more than 400 applications, a panel selected eight multimedia projects by 13 photographers and artists. In addition to showing their work for several months, each participant has also received a fellowship to further develop their work on migration.
The series has been expanding beyond photography and now embraces all kinds of visual culture: Among the works this year are murals and virtual reality 360 videos.
While varying in format, all of the projects are deeply personal, and, for lack of a better word, refreshing.
“What we want to emphasize and what’s important to focus on is to resist narratives that portray refugees or migrants as a problem,” said Yukiko Yamagata, the acting interim director of the Documentary Photography Project.
Several of the participants are refugees or undocumented immigrants themselves, and some of them have collaborated with immigrant communities to create and share their stories. Their approaches range from celebratory to absurd, political to intimate. Notions of exile and resilience run through the exhibit, which is on view at the Open Society Foundations offices in New York.
In line with elevating the perspective of migrants and refugees, the participants’ native languages are prioritized over English on the walls and in the project statements. That way, visitors may understand the “frustration of having your experience as it relates to language come second, much in the way that an immigrant, migrant or refugee would experience when finding their way in their destination country,” said Siobhan Riordan, the exhibition specialist.
Exhibited against a crimson red backdrop, Mr. Oyéjidé’s stately fashion portraits feature models who are themselves migrants. “It is true that many of these individuals who cross the seas and deserts in search of a place called home endure much and suffer much,” he said ahead of the reception. But, he added, “These are not the totalities of their experiences.”
Mr. Oyéjidé said he presents his subjects “as we all would hope to be seen. At their best. At their most regal and sophisticated.”
In “The Passport,” the Yemeni photographer Thana Faroq documents her own journey fleeing her country for a new life in the Netherlands. She also juxtaposes black-and-white portraits of other refugees with handwritten letters in which they shared their experiences. (Both Mr. Imam and Ms. Faroq could not attend the exhibit because their visas were denied.)
In “The Right to Grow Old,” Mr. Ayuso charts the dangerous route Honduran migrants have taken to reach the United States and explores the stories of those who prefer to settle in Mexico rather than further risk their lives with human traffickers.
At the heart of all these projects is the need to survive — the root of nearly all migration. That comes across in the title of the series, “Another Way Home.” It was inspired by a handwritten letter from “The Passport” in which one subject quoted “Home,” a poem by Warsan Shire.
Cover photo:James Jean, who is Haitian-American, and Patrice Worthy, who is African-American, wearing traditional clothing from their parents’ heritage. New York, United States, 2016. From the series “After Migration.” Photo: Walé Oyéjidé
A selection of the best photos from across Africa and of Africans elsewhere this week.
People in Kenya’s capital Nairobi salvage construction material on Thursday after government bulldozers knock down a mall which was allegedly built illegally on a river bed.
Ethiopia’s Birhanu Mekonnen runs on Saturday in the 2018 Jungfrau Marathon in Switzerland, one of the most popular mountain marathons.
These siblings attend the Twins Day celebration in Ivory Coast’s main city, Abidjan on Saturday…
While these twins looked as though they enjoyed the event.
Also on Saturday, these women wear matching outfits at a festival in Ivory Coast to honour the Ebrie people, who hundreds of years ago fled the Ashante kingdom in what is now Ghana…
The three-century-old festival is held annually, giving the Ebrie people a chance to honour their ancestry.
A football fan blows his horn, as Kenya cause an upset by beating Ghana 1-0 during the 2019 Africa Cup of Nations qualifier in Nairobi on Saturday.
While in Ghana’s capital Accra on Wednesday, people pay their respects to former UN chief Kofi Annan as his body lies in state ahead of his burial the next day.
While this man considers an art work at a fair in South Africa’s main city Johannesburg on Friday…
Photographs by South Africa’s Justin Dingwall were also displayed at the fair.
In neighbouring Zimbabwe on Tuesday, suspected cholera patients are being treated at a hospital in the capital Harare. More than 20 people have died of the disease in Harare since the beginning of the month.
While on Tuesday, an Eritrean woman sings after crossing into Ethiopia. Parts of the border between the two nations reopened after a war between the two nations forced its closure more than 20 years ago.
Liberia’s President George Weah receives the number 14 shirt he wore at the peak of his football career. He played in a friendly against Nigeria on Tuesday. The match was arranged to mark the retirement of the jersey. Nigeria won 2-1.
Highlights from this year’s competition include Ronaldo Schemidt’s image of a man on fire, which took the top prize
People – stories category, first prize
Aisha, 14, pictured in Maiduguri, Borno state, Nigeria. Aisha was kidnapped by Boko Haram and assigned a suicide bombing mission. After she was strapped with explosives, she managed to find help instead of blowing herself and others up
Photograph: Adam Ferguson/New York Times
Environment – stories, first prize
A man carries a huge bag of bottles collected for recycling at the Olusosun landfill site in Lagos, Nigeria
Photograph: Kadir Van Lohuizen/Noor Images
Nature – singles, second prize
Rockhopper penguins live up to their name as they navigate the coastline of Marion Island, a South African sub-Antarctic territory in the Indian Ocean
Photograph: Thomas P. Peschak
Contemporary issues – stories, first prize
Veronica, 28, massages the breasts of her daughter in Cameroon. Breast ironing is a traditional practice that involves massaging or pressing the breasts of pubescent girls in order to suppress or reverse development. It is carried out in the belief that it will delay maturity and help prevent rapes or sexual advances
Photograph: Heba Khamis/EPA
World Press Photo of the year 2018
José Victor Salazar Balza, 28, catches fire amid violent clashes with riot police during a protest against the Venezuelan president, Nicolás Maduro, in Caracas. This photo also won first prize in the spot news – singles category
Photograph: Ronaldo Schemidt/AFP
Environment – singles, first prize
A young southern white rhinoceros is drugged and blindfolded before being released into the wild in the Okavango delta, Botswana. The animal had been relocated from South Africa for protection from poachers
Photograph: Neil Aldridge/EPA
Sport – singles, first prize
Competitors from the Up’ards and Down’ards teams reach for the ball during the annual Royal Shrovetide football match in Ashbourne, Derbyshire, England
Photograph: Oliver Scarff/AFP/Getty Images
Nature – singles, first prize
A bald eagle scavenges for scraps of meat in the garbage bins of a supermarket in Dutch Harbor, Alaska, US
Photograph: Corey Arnold/AP
General news – stories, first prize
Nadhira Aziz watches as Iraqi civil defence workers recover the bodies of her sister and niece from her house in the city of Mosul, where they were killed by an airstrike in June. By the end of the battle for Mosul, more than 9,000 civilians were reported to have been killed
Photograph: Ivor Prickett/New York Times
Contemporary issues – singles, first prize
A boat carrying tourists from Lagos marina is steered through the canals of Nigeria’s Makoko community, an ancient fishing village that has grown into an enormous informal settlement on the shores of Lagos lagoon
Photograph: Jesco Denzel/EPA
General news – singles, first prize
The bodies of Rohingya refugees are laid out after the boat in which they were attempting to flee Myanmar capsized off the coast of Bangladesh. Around 100 people were onboard; there were 17 survivors
Photograph: Patrick Brown/Panos Pictures
People – singles, first prize
Djeneta, right, has been bedridden and unresponsive for two and a half years, and her sister Ibadeta for more than six months, in Horndal, Sweden. The sisters are Roma refugees from Kosovo who have resignation syndrome, which renders patients immobile, mute and unable to respond to physical stimulus
During South Sudan’s dry season between December and May, members of the Dinka tribe move from the highlands to the lowlands close to the river Nile, where they set up extensive cattle camps, ensuring their animals are close to grazing land.
Photographer Stefanie Glinski visited a camp in Mingkaman, in Lakes state
Once again, Karl Lagerfeld wowed the audience at Paris fashion week with his Grand Palais transformation, the venue for his latest haute couture collection.
As creative director of Chanel, Karl Lagerfeld has turned transforming the fashion house’s regular Grand Palais venue in Paris into an art form.
A space station, a datacentre and a supermarket have all been recent incarnations, but today it was something more romantic: a rose garden.
“Lush lawns, a fountain and fetchingly mossed urns formed the centrepiece to a bowered catwalk that ran beneath a maze of leaf-green trellising, canopied by roses and flanked by stone benches for the audience,” reports Jess Cartner-Morley from the front row.
DENIM is a no-brainer weekend look, but give your jeans an on-trend 90s twist with hoodies and bold-coloured logo sportswear. Tired of jeans? Wear a denim worker jacket with chinos for a casual alternative.