Tag Archives: PHOTOS

‘My babies are dying’: children trapped inside crisis in CAR – in pictures

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

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PHOTOS: Ghana’s ‘yellow-brick road’

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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.

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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.

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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.

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Some are still in use, but many now lie discarded and Clottey repurposes them for his art, which he calls “Afrogallonism”.

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Clottey estimates that he has used 30,000 Kufuor gallons since 2005 when he started using them in his artwork.

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About 3,000 of them have gone into the yellow-brick road project that began in 2016, he says.

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The artist works with an assistant, but local people also get involved in cutting up the Kufuor gallons and stitching the pieces together.

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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.

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He sketches what he wants the work to look like, but its exact form emerges organically as different people get involved.

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As part of the project he also gets people to help him collect the Kufuor gallons.

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Clottey goes to dumpsites with friends and they dress up in drag to symbolise how the Kufuor gallons are associated with women.

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People take the Kufuor gallons that they have collected to Clottey’s workshop, where they are weighed and paid $3 (£2.30) per kilogramme.

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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.

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All pictures by Nii Odzenma

Africa’s week in photos: 28 September – 4 October 2018

A selection of the best photos from across Africa and of Africans elsewhere this week.

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Ethiopia’s Oromo people celebrate the thanksgiving festival Irreecha on Sunday. Dressed in traditional clothes, people take fresh grass to Lake Harsadi to thank God for the beginning of spring.

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A young couple have chosen the day to get married. The groom says he is happy to have a wedding in front of all the people at the festival.

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At an opposition rally in Cameroon on Sunday, ahead of presidential elections, a man holds up a sign which says “a call to dismiss the dictator [President Paul Biya]”.

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But President Biya, who has been in power since 1982, has his supporters. On Saturday, in Maroua, northern Cameroon, some of those who back him turn out to show their support.

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Election fever is also building in the Democratic Republic of Congo, where opposition supporters on Saturday hold a rally three months ahead of the December poll.

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Unusual hats are on display on Wednesday in Ethiopia during the Addis Ababa Fashion Week.

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On Thursday, workers at a factory in Tunisia sort and dry the chillies that will go on to make harissa hot chilli paste.

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These Ghanaian women in the capital, Accra, look on as the motorcade for US First Lady Melania Trump goes by on Tuesday, the first day of her trip to the continent…

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On Thursday, Mrs Trump travels to Malawi where she is met by these well wishers, who are seen here getting ready for her arrival.

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Children in Kenya’s capital, Nairobi, are entertained by a performance of Tinga Tinga Tales on Friday.

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An elephant mascot entertains the fans at the Africa Cup of Nations indoor football tournament in Ivory Coast’s main city, Abidjan.

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On Sunday, a huge ivory pyre goes up in flames in the Democratic Republic of Congo in an effort to help stop illegal poaching.

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On the same day in the South African city of Johannesburg, ballerinas get ready to perform in Tchaikovsky’s ballet, the Nutcracker.

Pictures from AFP, EPA, Reuters and Getty Images

The heartbreaking story of refugees and migrants through Photos

The 25th annual exhibition by the Open Society Documentary Photography Project elevates the voices of refugees, migrants and asylum seekers.

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

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.

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“I wish to become a dragon and burn the scarves and everything in that tent.” Kawthar, 16, in Lebanon. From the series “Live, Love, Refugee.”Photo: Omar Imam

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“We had to eat grass, but I couldn’t pass it through my throat. Yet I forced myself to swallow in front of the children so they would accept it as food.” Amenah, 41, in Lebanon. From the series “Live, Love, Refugee.” Photo: Omar Imam

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A young girl living in a refugee camp witnesses snowfall for the first time in her life. Utrecht, the Netherlands, December 2017. From the series “The Passport.” Photo: Thana Faroq\

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.

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Roberta Chalini is a member of Mujeres en Movimiento, a self-organized group that explores the use of dance, art, ancestral remedies and civic engagement to empower Latina immigrant women in Corona, Queens. 2018. Photo: Sol Aramendi/Project Luz

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Valeria Reyes is a member of Mujeres en Movimiento. Queens, 2018.CreditSol Aramendi/Project Luz

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.

This year’s edition of “Moving Walls” features “Across la Tierra” by Layqa Nuna Yawar, an Ecuadorian-born artist; “Live, Love, Refugee,”by Omar Imam, a Syrian photographer and videographer; and “After Migration,” by the Philadelphia-based designer and artist Walé Oyéjidé.

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.”

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First as lookouts and later as full-fledged gang members, neighborhood children are groomed at a young age by their brothers, cousins and neighbors. San Pedro Sula, Honduras, August 2017. From the series “The Right to Grow Old.” Photo: Tomas Ayuso

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Claudia Rivera, 40, is a doctor. Her family immigrated to the United States in 1983 when she was 7 years old to escape the civil war. After living in the United States for years, she eventually returned to El Salvador. September 2017. From the series “Welcome to Intipucá City.” Photo: Anita Pouchard Serra/Koral Carballo/Jessica Ávalos

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A miniature replica of the Statue of Liberty stands in the garden of a house belonging to a family who once lived in the United States and returned to El Salvador to retire. September 2017. From the series “Welcome to Intipucá City.” Photo: Anita Pouchard Serra/Hans Lucas

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.)

The series also includes “Project Luz,” by the Argentine artist Sol Aramendi; “Welcome to Intipucá City,” by Jessica Ávalos, Koral Carballo, and Anita Pouchard Serra; “The Right to Grow Old,” by the photographer Tomas Ayuso; and “Fractured Connections,” by the FRPxTN collective, a collaboration between the Family Reunions Project and Tierra Narrative.

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.

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A public mural made by Layqa Nuna Yawar in collaboration with the organization Esperanza Neighborhood Project, led by members of the local community. New Brunswick, New Jersey, July 2018. From the series “Across la Tierra.” Photo: Tico Photography\

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A 360-degree video “postcard” experience in Guatemala, 2016. From the series “Fractured Connections.”CreditFamily Reunions Project/Tierra Narrative

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Karla wore a hat that belonged to her brother, who had gone missing for several months. San Pedro Sula, Honduras, April 2018. From the series “The Right to Grow Old.” Photo: Tomas Ayuso

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

Africa’s week in photos: 7-13 September 2018

A selection of the best photos from across Africa and of Africans elsewhere this week.


Pictures from AFP, EPA, Getty Images and Reuters

World Press Photo Contest 2018 – all the winning pictures

The life of South Sudan’s Dinka people – in pictures

Photo of the week: inside Chanel’s rose garden

Once again, Karl Lagerfeld wowed the audience at Paris fashion week with his Grand Palais transformation, the venue for his latest haute couture collection.

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‘Lush lawns, a fountain and fetchingly mossed urns.’ Photo: Patrick Kovarik/AFP/Getty Images

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.

The best men’s denim for all ages – Photos