The Learning Documentation project is a youth exchange series that focuses on the documentation of resistance movements that vision towards social & political change and justice. Participants engaged in learning how to safely and ethically document demonstrations and actions that amplify voices of marginalized groups as well as emphasizing the importance of visibilizing global issues from perspectives of those affected by these struggles.
The collected material comprises of interviews and pictures taken in and shared from the local contexts of participants, by which they could exchange experiences, skills and tips on protest documentation
I’m thinking about myself like an activist with the camera, the two things are intertwined since the beginning. I feel part of movements that want to change the system in which we live in and fight against any oppression in the world for self-determination and a good life for all. I’m inspired by people and movements who want to overcome borders and who are committed to an intersectional, solidary society and I think it’s very important to shape our realities to ignite a revolution where finally racism, colonialism, heteronormativity, patriarchy and capitalism are overcomed.
It’s important that the diverse spectrum of perspectives and voices from resistance movements are heard to challenge the dominant narrative and to write our own. It’s also time to unite struggles and get together to exchange our visions and tactics.
In December 2018, demonstrators marched through the Sudanese capital Khartoum, and in the neighboring cities of Omdurman and Bahri, demanding that the military play no role in a transitional government, and for political power to be transferred to civilian authorities. The protests were brutally suppressed. These photographs cover moments of mobilization and protest from this time, and after the military coup of October 2021.
Faiz Abubakr Mohamed is a photographer based in Khartoum, Sudan. He is a member of the African Photojournalism Database, a directory of emerging and professional African visual journalists established by the World Press Photo Foundation and Everyday Africa. These photos were taken after the military coup in Sudan on 25th October 2021.
As a photojournalist, I found that I had the opportunity to shed light on the ongoing events and abuse of the regime on peaceful protesters in Sudan, so I did my best to portray the truth through my lens.
After 30+ years of false Islamic rule that was a cloak for Omar Al Bashir and his regime to steal & plunder Sudan’s resources as they wish, in 2018 the Revolutions spark was ignited again in the rural city of Damazin by some young school kids protesting the increased price of bread which they used to buy for breakfast.
That was not the only reason the Revolution was back on track but the fact that it was started by school kids that lead all the way to April 2019 where Omar Al Bashir regime was taken down by peaceful protesters
WE CAN’T BREATHE by Nella Aguessy (BigMotha)
The message of protest from the Afro-Berlin community. The murder of George Floyd by Minneapolis police on 25 May 2020 sent a shock of anger and sadness around the world, particularly for the international Black community. In the midst of the lockdown, there was a question as to whether demonstrations against systemic racism and police violence would even be allowed. In an organic, vital, and spontaneous response, Nell Aguessy addressed the Black community of Berlin via social networks to come together to transform this anger into cathartic energy. The purpose of BigMotha is to use photography as a medium to express feelings. It is also an opportunity to give a voice to a community that is all too often underrepresented. Through black and white portraits, in analog medium format film (120 mm), the idea is to reflect this period of mourning during the photo shoot. After a moment of exchange with the photographer, the subjects posed on a black background under a strong spotlight. The signs, written by the subjects themselves, testify to the messages that Berlin’s Afro-European community wishes to convey to the world.
Activestills collective was established in 2005 by a group of documentary photographers out of a strong conviction that photography is a vehicle for social and political change.It is composed of Israeli, Palestinian and international photographers, operating locally in Palestine/Israel and abroad. The collective views itself as part of the international and local struggle against all forms of oppression, racism and discrimination.
Activestills approaches the region between the Jordan River and the Mediterranean Sea as one, working to expose the most blatant attack on human rights and freedom within these borders: the Zionist settler-colonial project led by Israel against the Palestinian population.
The collective believes in the power of images to shape public attitudes and raise awareness on issues that are generally absent from public discourse, or presented in a misleading way by the media.
I am originally from Chile, what, is supposed to be one of the most economically “successful” countries in Latin America, but that success has built up only in the pockets of few at the expense of people´s livelihoods in the name of neoliberalism. I migrated from Chile to Spain, but always tried to maintain a connection to the land, the people and the struggles there. This was not the first time that I was there photographing protests, but this time it was different than all the other times. I had never experienced an uprising that cut across all layers of society and really shook it to the core like this one. And even though the repression on part of the state was so intense and violent, the resistance was even stronger. I felt an incredible duty to document this moment because I knew nothing like it had ever happened in Chile, because I was afraid for what could happen and because I was uncertain anything like it would happen again. The protests hit a wall when the Covid-19 arrived in Chile and the government installed strict measures that limited mobility in the city. But as soon as measures started to loosen up, people took to the streets again and I too went back with my camera. The images here were taken from November 2019 until November 2020 and concern only street protests.
I come from Central/Meso America in the country of Mexico. I became consciously politically engaged in my university years in Mexico city, and especially when the Zapatistas arrived to the city to start a countrywide tour that I realized I wanted to be active. Another moment was in 1999 when the government wanted to privatize education and there was a huge strike lasting 2 years to maintain public schools and universities, in which the people won!
Photographing all sides of Mexico – the beauty, everyday life and resistance.
The rise of femicide cases in Mexico & Latin America made me want to visibilize problems of patriarchal violence as it was a lived experience for many of us. We did & documented actions in public spaces to honour the lives of the murdered women, so they are not forgotten. The important thing for me is the connection, that I get to be close to the stories of others, and to learn about their realities. That we tell our own stories. There is something powerful when you see a lot of people gathering for a cause , and it brings power to communities to see themselves in these images and have other narratives that don’t portray them as bad or powerless.
Bura is a creative and storyteller of African descent . They are a curious observer of their environment and the reality that is constantly being shaped by the actions of humanity, weaving their eye for art with their passion for activism. Bura was engaged with the coverage of the series of Iranian protests against the Islamic law & struggle for justice and equality, in Berlin following the brutal murder of Zhina Mahsa Amini