Wednesday, September 25, 2013

Ruins of Kabul



When I started looking at the pictures of the ruins of Kabul by Salgado, I was reminded of the book The Kite Runner. In the beginning of the book, we see the childhood of Amir who lives in Kabul in Afghanistan. He lives in a big house, which he loves. One day, he hears the bombs start going off. He and his father flee Afghanistan to the United States. Later he returns to Afghanistan and his beloved home and finds it in ruins. He was devastated to have lost his childhood home (Hosseini). Looking at these pictures made me think of that and what it would be like. What would it be like to one day have to flee everything you know and love to go to a completely new place where you knew no one? Then, what would it be like to return to everything you love only to see that it has been destroyed? 

Kabul has been emptied of most of its population because of the war. When it was first abandoned in the 1980s, it was still mostly intact, but now after numerous battles, all that is left are ruins (Salgado Pamphlet 6). The picture that really caught my eye was one of a man on crutches limping through the ruins of Jade Maiwan Avenue in Kabul. He is missing one leg. He is the only one you see, the only other thing around are ruins of a city that once had many inhabitants, that once had lots of life. (Salgado 80/81). In one of the picture descriptions in the Salgado Pamphlet, it says, “It is a measure of the devastation suffered by Afghanistan that production of prostheses has become an important industry.” This really got to me because there shouldn’t be so many people missing limbs in one place that prostheses becomes a major, important industry! It’s not something that I ever would have thought about before seeing this picture. It's such a different world from the one we live in.


Works cited
 
Hosseini, Khaled. The Kite Runner. New York: The Berkley Publishing Group, 2003. Print

Salgado, Sebastião. Migrations: Humanity in Transition. New York: Aperture, 2000. 80-81 Print.

Salgado, Sebastião. Migrations: Humanity in Transition. (Pamphlet) New York: Aperture, 2000. 6 Print

Thursday, September 19, 2013

Sebastiao Salgado Migrations: Humanity in Transition

Illegal immigrants are all over, but we don’t even know it. Sebastaio Salgado is his book Migrations brings awareness to this in the form of photographs. All the photographs are in black and white and they depict various stories, various stages of an immigrant’s journey.

One such photo has as a subject a young man. He is sitting in a car in a scrapyard. The car he has made into his home. The scrapyard is his home. (Salgado 46/47) The description of this picture explains that immigrants travel long and hard. They walk more than I could ever imagine walking in less than desirable circumstances. This particular picture is in Spain. Once they have entered Spain, illegally, they go to a settlement to await permission to go to the Spanish mainland. The settlements are abandoned warehouses and scrapyards. (Salgado Pamphlet)

Can you imagine? Living in an abandoned car in the middle of a scrapyard after journeying so long? I know I can’t. Salgado, in an interview for the opening of a gallery said, “When I was on the road photographing people, they all had this in common: the hope of survival, the instinct of survival.” (Doreen B. Townsend Center Occasional Papers) It is so amazing how much some people need to endure in order to survive. This book and this picture in particular really make me think about how much I have and how little others have. How much others go through just to have what I would consider almost nothing. These immigrants just want to survive, many of them just want to work and be able to help their families. It truly is a whole other world then the one so many of us know, a world that isn’t well known and one that we should all become aware of.


Works cited
Salgado, Sebastião. Migrations: Humanity in Transition. New York: Aperture, 2000. Print.
Salgado, Sebastião. Migrations: Humanity in Transition. (Pamphlet) New York: Aperture, 2000. Print

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