He has said that his childhood spent on the farm heavily influenced the expansiveness for which his photography is renowned. They have two sons and one grandson.
Mayengema The sounds on the mines around Mayengema are scratchy, percussive sounds. Sounds of scraping, shaking and digging.
These are sounds of destruction.
Over them float the voices of miners and bosses. Male voices, sometimes singing, but more often bantering, arguing, or cursing. The diamonds they search for make no sounds that distinguish them from the gravel, mud and water of the mine.
The Mayengema mines seem somehow to exist in a low visual register as well. The mud of the rainforest floor and the dense vegetation that surround the pits are monochrome yellows and greens. The tools of alluvial or surface mining are spare and symmetrical: Gravel from the bottom of the pits is maddeningly uniform.
The bodies of the miners are stripped to their essence by hard repetitive work and the hard repetitive landscape.
It is some 15 miles from the nearest road, which is itself only passable in the dry season and then only by motorbike. The cataracts on the Moro River make it impassable by boat, so what comes and goes from Mayengema comes and goes by foot. In the past two years thousands of young men have made the trip to Mayengema and to other small settlements throughout the Gola Forest.
The more established and accessible diamond fields to the north and west have become crowded and dangerous.
Too many authorities claim ownership over the sites, and there is close scrutiny of who goes in and what comes out.
These Gola Forest deposits, by contrast, are harder to access and thus potentially more rewarding. They hold the promise of virgin territory and less competition for young men willing or desperate enough to leave everything else behind. Much of the mining workforce in the forest pits is made up of ex-combatants from fighting factions on both sides of the border.
Often these same units fought together during the war; then as now they blur the distinction between a labor crew and a militia squad.
They transit networks of friends and contacts and rarely remain situated long.
They arrive and depart as strangers. Much of my research charts the ways in which this particular West African warscape is organized around the efficient assembly and deployment of young men and their physical capacities, especially their capacity for violence see Hoffman a, a, b.
It is a political economy that has reshaped the meanings of patrimonialism and military command, and reshaped the meanings of youth and male sociality. It is a political economy that refigures the very spaces of the city and the occult imaginary. What has been striking is the interchangeability of spheres of work, the qualitative similarity for many young men between the tasks and rewards of war fighting and the tasks and rewards of mining, campaigning, or tapping rubber.
Having elsewhere explored the macro-processes that made these young men available to forces larger than themselves, I came to Mayengema and the Gola Forest to chart these processes at the level of the material bodies of young men.
The resulting photo-essay is an ethnographic portrait of the shape and texture of work.
Labors of the Body Work on the mines is sisyphean. Diamonds are carried across this landscape by century after century of moving water and shifting earth. One accesses them by panning creeks and river floors or by scrapping away the topsoil.
The first step, then, is to alter the earth:UNICEF is committed to doing all it can to achieve the Sustainable Development Goals (SDGs), in partnership with governments, civil society, business, academia and the United Nations family – and especially children and young people.
Nov 08, · Photographer Sebastiao Salgado, whose parents owned a coffee mill, looks at the faces and places behind the $ billion-a-year business.
This book is an astonishing document on both the talents of Sebastiao Salgado and the roughness of some of the worst professions in the world. The book was several years in the making and it shows.
A lot of credit goes to Aperture for such a quality print. In , Berger wrote in The Guardian of Salgado's work.
In a strange way, in all these pictures, one feels in Salgado's vision the word ‘yes’ — not that he approves of what he sees, but that he says ‘yes’ because it exists. Read writing about Sebastiao Salgado in Morning Light.
A library for travellers’ tales about the unknown everyday moments found somewhere faraway; evocative photo essays, and a hardcore dark. From The Ghetto to the National Gallery, Tom Hunter continues to explore themes that depict his local neighbourhood, drawing on art historical references to paint Hackney in a different light to the usual lurid newspaper stories of urban blight.