001 - Home | UNICEF · PDF file · 2015-10-21and Padakhep Manabik Unnayan Kendra - were directly involved in this venture. This photography project is part of a national communication

want to be a photojournalist and work with streetchildren to improve their lives. I was a street

child myself. Those who live in houses will neverunderstand how hard life is on the street.

Md. Foysal, Dhaka

I

4

The tiger is set in stone, high-rise buildings overlook intense

traffic, a child wanders aimlessly between railway lines… In

a trailer, a tired worker is huddled up, a boy is caught

stealing… In the midst of this dark, harsh world, there are

also pinpricks of light: a simple home is painted in bright

colours, two children laugh from the back of a rickshaw, a

boy is suspended mid-air to catch a ball, a man brandishes a

fish with a large smile…

These are scenes of the urban jungle, presented to us

through photographs by twenty children aged 12-16 living

in Dhaka and in Barisal. These young photographers have

all spent part of their lives living on the streets, or have

been working since a tender age to support themselves and

their families.

When given a camera, some of the children set out to

capture the beauty of their world; the magnificent

landscapes, the moments of joy. But others wanted to

expose the ugly side of life in Bangladesh: children being

exploited, living in appalling conditions, those deprived of

education and forced to work in order to survive.

Many of the children tell their own stories through the

images in this collection: ‘I used to sleep here at the Barisal

river port’ recalls 12 year-old Dulal. In Dhaka, Farid and

Kader’s pictures at Kamlapur Railway Station remind them of

the struggles of early childhood, while Sima chooses to

The tiger and the jungle

5

return to Mirpur Mazar to photograph girls whose lives

mirror her own.

The children’s words are simple and sincere and, together

with the images, they give an insight into their inner

world; their joys, their pains, the dream to ‘fly high’, the

torture of a window full of toys they cannot play with.

But can things be different for these children, so often

treated as the dregs of society? Will we accept that

poverty, exploitation and deprivation is their fate?

UNICEF believes that the first step toward changing

societal views about children who live and work on the

street, is to give these children a chance to express

themselves in the public sphere; to have their feelings,

ideas and creativity understood and appreciated. Having

their words and images featured in this collection

represents an important form of social recognition for

the children involved - all of whom are beneficiaries of

the Protection of Children at Risk (PCAR) project under

the Department of Social Services, Ministry of Social

Welfare, supported by UNICEF and implemented by

national NGOs. Two such NGOs - Aparajeyo-Bangladesh

and Padakhep Manabik Unnayan Kendra - were directly

involved in this venture. This photography project is part

of a national communication campaign to combat the

social acceptance of child labour (launched in June

2010) and could not have existed without the

partnership with Drik and Pathshala, the South Asian

Media Academy. UNICEF is also grateful to Telenor, which

has been generously funding the campaign against child

labour as well as the PCAR project, through the National

Committee for UNICEF in Norway.

As a result of PCAR interventions, most of the children

whose images feature in this collection now live in

shelter homes and benefit from a variety of social

services. Many have been able to go back to school or to

undertake vocational training leading to better job

opportunities. The PCAR project supports close to 8,000

children, but what of the others? There are currently

several million children involved in child labour and the

number is likely to increase as a result of rapid

urbanization. Will we leave these children to fend for

themselves in the urban jungle? Or will we collectively

find the means to protect them and allow them to

achieve their full potential? After all, even in the jungle,

the tigress knows how to take care of her little ones.

Carel de Rooy

UNICEF Representative

6

There is a certain arrogance in ‘teaching’ anything. The

assumption that you know best, and the certainty that

you are in authority. The clear hierarchy. Bhaiya and

Apa, against tumi or tui. When advantages of age and

access are coupled with differences of class, it forms a

dangerous mix. One needs to tread warily. The medium

of photography, because of its power, is a dangerous

tool. One hopes to share the adventure of a new way

of seeing, but stay alert to the traps of privileged

voyeurism. To empower and not be patronizing. To

open windows of opportunity. To let in fresh ideas, but

not trample on thoughts that exist.

It’s been tried before. The novelty of teaching children,

the moral high ground through providing what was

absent, the exoticism of entering a world through eyes

that have special access are ways in which new worlds

have been ‘discovered’. Rarely has it raised the

question of the invisibility of worlds that leads to such

discovery. Empowerment can only be explored where

equality has previously been denied. How then does

one approach exploitation? How does one undo wrongs

when one is on the ‘wrong’ side of the fence?

From the other sideof the fence

7

There are no easy answers. No secret ingredient, that

makes one immune to the hazards of benevolent

intervention. Therein lies the magic of this medium.

Stripped of the need for technical prowess that makes

privileged knowledge a domain of the privileged.

Unburdened by the material limitations of films and their

cost. Liberated from the aesthetic leanings of

conventional education, some children have a freedom

that their ‘well brought up’ counterparts have long lost.

It’s a contagious spontaneity. A boy and his shadow,

hovering in suspended animation, take the ‘decisive

moment’ to new heights. Clutching her prized

possessions, a little girl walks through a rubbish tip, her

hesitant smile lighting up the drabness of her surrounds.

A lonesome worker, drooped in toil, rests his weary body.

These are not images made because of some learned

aesthetics, or some schooling of shape or form. No

complex law of composition can compete with the

contours shaped by a caring eye. No sermon on tempo

and pace can replace the irrepressible energy of

unabashed youthfulness. No theory on the use of

negative space can contain the sheer audacity of an

unbounded horizon. Did the ‘teachers’ not have a role?

Of course they did. They stepped out of the way when

they knew the time was right. They coaxed and cajoled

when a little prod was needed. They said ‘yes, yes, yes’,

when they saw hesitation in expectant eyes. They waxed

the wings of flight. They let imagination soar.

These gentle, harsh, chaotic and elegant images remind

us, not of some untapped potential that our intervention

has released, but the humanity in abundance that our

unabated surge for growth, leaves behind.

Dr. Shahidul Alam

Principal

Pathshala – South Asian Media Academy

Bangladesh

9

Cities in Bangladesh are overcrowded with dense slums,squatter settlements and pavement dwellings, eachhome to thousands of children. Urban migrationcontinues to swell the numbers of people living inurban slums and on the streets.

Children living or working on the streets areparticularly vulnerable to abuse and exploitation. Thesechildren grow up on the margins of society withoutappropriate shelter, protection, education, health care,food and security.

Many children are forced to work - often in hazardousand low-waged jobs - to support themselves and theirfamilies. It is estimated that more than 7 millionchildren in Bangladesh are engaged in some form ofchild labour. Working children are frequently deniedtheir rights to education, leisure and play.

In close cooperation with the Ministry of SocialWelfare, Department of Social Services, UNICEF isworking to protect and assist children living or workingon the street through the Protection of Children atRisk (PCAR) Project.

As part of this project, social workers reach out tochildren living on the street and facilitate access tovarious forms of schooling along with other services,including drop-in-centres which provide shelter, legalaid, various psychosocial services and support forfamily reintegration. Children can also participate in

life skills training, recreational and educationalactivities that promote social interaction and allowtraumatised children to relax and separate themselvesfrom the pressures of street life. Emergency nightshelters for immediate care and protection of childrenliving in the streets are also operating in three cities.

More than 8,000 Bangladeshi children have so farbenefitted from PCAR interventions in 68 open airschools, 18 drop-in centres and three emergencynight shelters.

In addition, UNICEF works closely with the Governmentto provide working children with access to educationand other services; strengthen legal protectionmechanisms for children; build the capacity ofGovernment staff and increase social protectionmeasures to reduce the need for children to work tosupport their families.

In June 2010, a national communication campaign waslaunched in order to change the attitude of those whoconsider child labour to be ‘normal’.’ This campaign is,jointly supported by, UNICEF, the Ministry of Womenand Children Affairs, Government of Bangladesh andthe International Labour Organization (ILO).

The Telenor Group has been generously funding thecampaign against child labour through UNICEF NationalCommittee in Norway.

Preventing child labour and protectingchildren at risk in Bangladesh

11

IntroductionBattered, starved and physically and mentally abused, manyBangladeshi children run away from homes where life hadbecome unbearable; they exchange the horror of a tough homelife for the hardships of living in a concrete jungle. Somechildren are forced to spend their days on the streets, workinglong hours to earn a few taka and help their families survive.Others work in a different environment - in small factories,buses, or at the ports… many of these jobs put their physicaland mental development at risk. Out on the streets, childrensurvive by drawing on their instincts, strength, and courage.Some are lucky enough to be reached by organizations that givethem opportunities for a better life, but many continue to facea life of destitution.

Living in the Urban Jungle is a view of the world through theeyes of twenty such adolescent girls and boys aged 12 to 16.UNICEF Bangladesh initiated the project in partnership with DrikPicture Library who trained the children in photographytechniques and worked closely with them to select the photosthat feature in the final collection. Photography offered eachtrainee a unique journey into the unknown.

Participants were selected and supported by two NGOs -Aparajeyo-Bangladesh and Padakhep Manabik Unnayan Kendra –

which take care of them on an ongoing basis as part of theUNICEF-supported ‘Protection of Children at Risk’ (PCAR)project. The photo project took place in Dhaka and Barisal,where the children live, in order to reflect two very differenturban environments.

The trainers, Tanzim Wahab and Habibul Haque, began the five-day training session with an ice-breaker exercise where theparticipants sketched portraits of each other (page 78-79). Theyoung people giggled over their distorted caricatures, and afriendly environment was established. Then the trainers gotdown to the business of introducing the children to variousphotography techniques. Aperture, shutter speed and lens, andother complex photography jargon was simplified and taughtusing simple metaphors involving human eyes, tiny holes,doors, etc.

The training focused on three important components ofphotography - camera operation, composition and content –after which the adolescents were sent on a trial photo shoot.Initially, many of the boys were unimpressed by the BotanicalGarden where their trainer had taken them for their first tasteof photography, but one of the girls - who liked the place andthe beauty of the plants - told them: ‘Prepare your heart firstthen come back again.’

Living in the Urban Jungle:a Photographic Project withWorking Children of Bangladesh

Taking pictures in a rainy day. Barisal.

Photo: Habibul Haque/Drik/Unicef

12

Later on, together with their tutors, they reviewed their photostaken, looking at light, form, angle, basic aesthetics, etc. Theydiscussed how to communicate with their subjects, how to getaccess, and the concept of photographic ethics.

Photo essays by children from different parts of the world wereshared as examples of visual storytelling. Seeing images ofRussian children in snow-capped scenes for the first time in herlife, Pinky thought it was a fairyland!

The trainers encouraged each of the children to share theirpersonal stories with the group. Every participant’s taledescribed the many trials and tribulations they had undergonebut, more importantly, the stories revealed the children’sincredible courage and resilience. The children and trainersagreed on topics for their shooting assignments, and thechildren selected locations they felt were appropriate. Duringdiscussions, they also explored issues that were important tothem, such as child labour, health and hygiene, food, education,child marriage, drugs, etc.

Outdoor shooting in Mirpur, Dhaka. Photo: Saikat Mojumder/Drik/Unicef

13

Fifteen year-old Sima decided that she wanted to takephotographs in Mirpur Mazaar as that’s the place she spent herchildhood (Page 40). When telling the story of her friend whoworries about the future of her newborn baby in the Mazaar,Sima wondered if the baby will one day read her story.

Meanwhile, Shahin settled on Karwanbazar as the place that hasspecial significance in his life. Shahin was once a domesticservant in Dhaka and was unfairly accused of stealing money.Forced to run away, he spent two months living on the streetsof Karwanbazar and had to resort to begging before he foundshelter at a UNICEF-supported drop-in centre run by PadakhepManabik Unnayan Kendra.

Moments of CreativityAfter the workshop, each trainee was given a digital camerawith which to take photographs for a week, and was advised totake a minimum of 200 pictures. Now free to release theirshutters at will, the children (who had never even held acamera before this project) took to the task like ducks to water.After a week, they came back with a total of 27,671 pictures.The images they produced are as strong as their spirits.Comfortable in their chosen locations, they roamed familiar

territory - with real journalistic skills - to capture unique,symbolic and often intimate moments.

Access was often a major issue. Children living on the streetsare not always welcome… and even less when they hold acamera.

Ticket checkers at the railway station wanted to arrest them…On one occasion, Roni and Shahin noticed a policeman beatinga man caught pick pocketing. The scene was a familiar one forthem and the young photographers moved in to capture themoment. Shahin had switched off his flash, but Roni forgot andwhen the flash popped the policeman turned his head andbegan shouting at Roni (page 15). Hearts pounding, the twoboys ran as fast as they could. In the following melee, the thiefescaped but the boys were caught after a 20-minute chase. Thepolice freed the boys only after the NGO coordinator intervened.

Showing the conditions in which children are working was verymuch at the heart of many participants. But entering workshopsor factories with a camera was another story. Some businessowners even wanted to snatch their cameras… Many peoplefear a camera, realizing its potential for recording evidence and

Practical session on camera operation in a kash field. Dhaka.Photo: Habibul Haque/Drik/Unicef

Editing Session in Barisal. Photo: Mahabub Alam Khan/Drik/Unicef

14

exposing hidden issues. In Barisal, a factory owner refused toallow any trainee into his factory. He feared that the traineeswould pose as child labourers and take photos to bring chargesagainst him.

During the same week, one of the young participantsphotographed some intimate moments with her mother. Someyears ago, her mother left her in the Mazaar and started livingwith her stepfather in a slum. The young girl does not spendtime with her often but the camera brought her back to themother’s shanty.

The Spontaneity in the PhotographsInterestingly, in Dhaka, most of the trainees chose to takepictures of the streets. After all, the streets are their home;familiar and full of memories, whether good or bad.

But their lenses were not only pointed at the concrete. Withfresh eyes, they looked at their familiar streets and saw weavingclouds in the sky, magical reflections in the water and evennoticed unexpected matching colours (page 39, 58, 71).

In Barisal, the young people’s eyes focused on the beauty oftheir environment. The green colour dominated the frame. Even

a heavy rainfall which caused flooding in the city was nodeterrent. Instead, it was a new opportunity to photograph therain. A shutter was released for a fraction of a second, catchingdrops of water suspended like sparkling crystals (Page: 38).

After a week, the participants met again with their trainers inorder to edit and select images. During this session, theylearned the basic concepts behind improving a photo. Thetrainees provided fearless and frank arguments for keeping theirpreferred images, and it was a learning experience for bothparties – the trainers listening to what the children had to sayand discovering what social prejudice meant.

The adolescents were also asked to write captions for theirphotos. In their writing, they questioned the gap between the‘haves’ and ‘have nots’ and asked “why not a little of this forus?” Kader peeped into the windows of toyshops and tookseveral images of toys that he couldn’t afford to own (page 32).He wanted his images to be in the final edit because hebelieved that they expressed the feelings of manydisadvantaged children.

Dulal is trying different angles, Barisal. Photo: Habibul Haque/Drik/Unicef Laboni is capturing lives in Mirpur Mazaar. Photo: Saikat Mojumder/Drik/Unicef

15

...Roni clicked on hisshutter flash cameout, and policeturned his head andreacted with anuproar. Heart waspounding fast andthey started runningaway. Police ran afterthem for twentyminutes and finallymanaged to grasp.

16

Children also questioned the right to education: why so manychildren have to work and cannot afford to go to school? Why ayoung girl has got a baby ‘at an age when she should be livingwith and cared for by her parents’? (page 21). Farid wrote abouta child of his age working in a tannery: ‘There is nobody tostop him working there. He is alone and this is the only way heknows how to live’ (page 46), while Chandni commented on apicture of a girl working in a tobacco factory: ‘If we can ensurethat girls like Priti get an education, our country will have abetter future’ (page 57).

The images selected by the children were reviewed by a panel ofexpert curators. A total of 59 images were identified for thecollection which will be shown in the two cities - Dhaka and

Barisal. The aim of the exhibition is to create a platform fordialogue. The images will subsequently be mounted on rickshawvans and boats to tour rural areas and reach a wider audience.

Living in the Urban Jungle has given 20 disadvantaged childrenthe opportunity to show us a glimpse of their lives, and theirinner worlds. The photos reflect the courageous spirit and thematurity of the children who took part in this project. They canalso be interpreted as a heartfelt appeal for child rights. Theirwish is that many others they know are in similar circumstancescan also be helped to make Bangladesh a better country withequal opportunities for all children.

Lucky is happy to take the first photograph. Dhaka. Photo: Habibul Haque/Drik/Unicef

17

S E L E C T E DP H O T O S

18

Oh! My dear parrotspeak up,say my name,andI will let you free.Hatkhola, Barisal, Bangladesh, 2010

Photo: Shawlin Akhter, 12

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19

Rainy day, idle morning.Kawshighat, Barisal, Bangladesh, 2010

Photo: Manoj Baroi, 13

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20

I used to see many colourful houses during mychildhood. That colour is lost in brick and mortar townhouses. This brightly painted home at Kumarkhali inBarisal reminds me of my childhood.Kumarkhali, Barisal, Bangladesh, 2010

Photo: Chandni Akhter, 14

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21

My friend, Sharmin, begs in Shah Ali Mazaar. Childmarriages are illegal in this country but she is thevictim of a child marriage. She is on the streets withher newborn baby at an age when she should be livingwith and cared for by her parents. The baby has notseen its father’s face as he abandoned Sharmin for notbringing a dowry. Sharmin does not know what thefuture holds for her baby. Mazaar is now her residenceand it is an unhealthy place to live.Mirpur Mazaar, Dhaka, Bangladesh, 2010

Photo: Sima Akter, 15

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22

Many students at the open air school have no parents.If we could have these schools in every area then allstreet children could be educated. Then rich peoplewould not be able to call them illiterate and would nothate them. Education will give us equal rights.Mohammadpur PCAR/PMUK Open-air School, Dhaka,Bangladesh, 2010

Photo: Pinki Akter, 12

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23

Children are learning in a friendly environment at anopen learning centre.Palashpur open air school, Barisal, Bangladesh, 2010

Photo: Salma Akhter, 16

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24

Sharmin 9, is sewing her own clothes at the drop-incentre. Her face is gloomy despite being safe and soundhere at the centre.Girls Drop-in Centre, Barisal, Bangladesh, 2010

Photo: Shathi Akhter, 14

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25

Amena, a member of our drop-in centre, loves to wearcosmetics. But a safe home and an education couldmake her life more beautiful than cosmetics.Girls’ Drop-in Center, Barisal, Bangladesh, 2010

Photo: Mawshumi Akhter, 13

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Poverty and violence at home drives many children totake shelter at drop-in centres. As the children learn lifeskills, play, dance and study, they start to forget theirpast. Two girls are dancing at the drop-in centre.Mohammadpur, Dhaka, Bangladesh, 2010

Photo: Kazi Labony, 13

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26

When I walk around the streets, I see different toys.Some toys look like real people. When I see them I feellike I am seeing myself. I took this image and thoughtthis is me.Mirpur, Dhaka, Bangladesh, 2010

Photo: Rafida Akter, 15

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27

28

The eternal bond of friendship.Barisal stadium, Barisal, Bangladesh, 2010


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29

The beaming faces of children make you forget thehardships of poverty.Bandar Road, Barisal, Bangladesh, 2010

Photo: Roni Hossain, 14

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30

In my childish dream I want tofly high.

Char Kauwa, Barisal,Bangladesh, 2010

Photo: Md. Mohasin Hossain, 12

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ZKm: ßoJÎ oyJKxj ßyJPxj, 12

31

Moyna is the goal keeper of our football team at thedrop-in centre. We are given sports kits and facilities toplay games here.Barisal stadium, Bangladesh, 2010


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32

All of us like toys very much. They make us smile whenwe have them and cry when we can’t have them. Richchildren can buy expensive toys but street childrencannot afford them. Some children have never had a toyto play with. We do not have money so we play withanything small that we can make into a toy.Panthapath, Dhaka, Bangladesh, 2010

Photo: Md. Kader Hossain, 12

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33

This drawing of a king fondling a deer took my breathaway. It was done by a child who used to live on thestreet. My friend had kept the drawing beside a window.We learn art, dancing and music at the drop-in centre.Mohammadpur, Dhaka, Bangladesh, 2010


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34

The joy of life goes parallel.KDC Port, Barisal, Bangladesh, 2010


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35

Speed in search of life.KDC port, Barisal, Bangladesh, 2010


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ZKm: ßoJ: oyJKxj ßyJPxj, 12

36

Thousands of people visit the National Martyrs’Memorial, which commemorates the soldiers and thefreedom fighters who died in the Liberation War. Thewide variety of beautiful flowers keeps the memory ofthe place in the minds of the visitors.Savar, Dhaka, Bangladesh, 2010


yJ\JPrJ oJjMw IJoJPhr vKyh oMKÜPpJ≠JPhr ˛rPe KjKotf\JfL~ ˛OKfPxRi ßhUPf IJPxÇ KmKY© xm láPu ZJS~J

\J~VJaJ hvtTPhr oPj ßVÅPg pJ~ÇxJnJr, dJTJ, mJÄuJPhv, 2010

ZKm: TJ\L uJmjL, 13

37

Many different games are played at Barisal Stadium. Theback of the stadium is transformed into a magical placeby the beautiful play of light and shadow at dusk.Barisal stadium, Bangladesh, 2010


mKrvJu ßˆKc~JPo jJjJ irPjr ßUuJ y~Ç ßˆKc~JPormJAPr VqJuJKrr jLPYr IÄvaJ ßVJiNKur IJPuJ-ZJ~J~ FT

\JhMo~ ˙JPj kKref yP~PZÇßˆKc~Jo, mKrvJu, mJÄuJPhv, 2010


38

It is raining. Boats are cruising in the rain.Dopdopia Ferighat, Barisal, Bangladesh, 2010

Photo: Rony Hossain, 14

mOKÓ kPz ^oJ^oÇ ßjRTJ YPu IKmrJoÇhkhKk~J ßlKrWJa, mKrvJu, mJÄuJPhv 2010


39

I am amazed to see colourfulreflections in the water. On a

ferry ride in Sadarghat, Ifound a mysterious blendingof colours in the reflections

in the water.Sadarghat, Dhaka,Bangladesh, 2010


kJKjPf rKXj ZJ~J ßhUPf o\JuJPVÇ xhrWJPa jhL kJr yS~Jr

xo~ rPXr FA IØáf ZJ~Jr ZKmKafáPuKZuJoÇ

ZKm: rJKlhJ IJÜJr, 15

40

Mazaar is a sacred place where I went to pray that mybrother, missing from home, would be brought back tome. Many people, rich and poor from different placescome here to pray in Mazaar. They seek help from Allahto ease their troubles. Some prayers are answered, someare not. I wish Allah would listen to my prayer.Mirpur Mazaar, Dhaka, Bangladesh, 2010


oJ\Jr kKm© \J~VJÇ SUJPj KVP~KZuJo ßhJ~J TrPf pJPf IJoJryJKrP~ pJS~J nJA IJoJr TJPZ KlPr IJPxÇ VKrm-ijL mÉ oJjMw

oJ\JPr IJPx ßhJ~J TrPfÇ hMÎU-TÓ ßgPT oMKÜ ßkPf IJuäJrTJPZ xJyJpq YJ~Ç ßTC xJyJpq kJ~, ßTC y~PfJ kJ~ jJÇ IJuäJ

ßpj IJoJr k´JgtjJ ßvJPjÇKorkMr oJ\Jr, dJTJ, mJÄuJPhv, 2010


41

In Sadarghat, I saw a boatman praying in his boat. Ifelt bad that he could not go to a mosque to offer hisprayers because of his long day at work.Sadarghat, Dhaka, Bangladesh, 2010

Photo: Md. Roni, 14

xhrWJPa ßhUuJo FT oJK^ jJoJ\ kzPZÇ ßhPU UJrJk uJVPuJ ßpTJP\r mq˜fJr \jq jJoJ\ kzPf ßx oxK\Ph ßpPf kJrPZ jJÇ

xhrWJa, dJTJ, mJÄuJPhv, 2010

ZKm: ßoJ: rKj, 14

42

This mother lives in a slum and has no bathroom tobathe her baby. She has only a dirty pond.Hazaribagh Tannery, Dhaka, Bangladesh, 2010

Photo: Md. Foysal, 13

FA oJ FTaJ mK˜Pf gJPTÇ ßxUJPj ßTJPjJ ˚JjWr ßjA mPumJóYJaJPT ßjJÄrJ kMTáPrA ˚Jj TrJPóZÇ

yJ\JrLmJV aqJjJrL, dJTJ, mJÄuJPhv, 2010

ZKm: ßoJ: l~xJu, 13

43

Water is life, but water is death too. These children areswimming in the Bosila River. This river was once cleanbut the slum dwellers have polluted it, making ithazardous by dumping garbage.Mohammadpur Beribadh, Dhaka, Bangladesh, 2010

Photo: Shahin Alam, 15

kJKjr IJPrT jJo \LmjÇ KT∂á kJKj oOfáqrS TJreÇ FA mJóYJèPuJmKxuJ jhLPf xÅJfJr TJaPZÇ jhLaJ FT xo~ kKróZjú KZPuJÇ KT∂á

mK˜r oJjMPwr TJrPe hNKwf yP~ ßVPZÇ IJm\tjJ ßlPu ßlPuKmwJÜ TPr fáPuPZÇ

ßoJyJÿhkMr ßmKzmÅJi, dJTJ, mJÄuJPhv, 2010

ZKm: vJKyj IJuo, 15

44

I spent my childhood at Kamalapur Railway Station. It isan unhealthy environment and children living there workreally hard to help their parents. I do not have to livethere anymore, but seeing these children reminds me ofmy difficult past.Tejgaon Rail Station, Dhaka, Bangladesh, 2010

Photo: Md. Farid, 13

IJoJr ßZJaTJu ßTPaPZ TouJkMr ßruSP~ ßˆvPjÇ UMm UJrJkkKrPmvÇ ßp KvÊrJ SUJPj gJPT SrJ SPhr kKrmJrPT xJyJpq TrPf

nLwe TÓ TPrÇ IJKo FUj IJr SUJPj gJKT jJÇ KT∂á SUJjTJrmJóYJPhr ßhPU KjP\r TKbj IfLPfr TgJ oPj kPz pJ~Ç

ßf\VÅJS ßru ßˆvj, dJTJ, mJÄuJPhv, 2010

ZKm: ßoJ: lKrh, 13

45

Seven year old Ayesha has no idea if where she livesis a good or a bad environment for her. She is in aplace where leather is tanned. Fish and chicken mealis a byproduct of this process but the tanningpollutes the environment.Hazaribag Tannery, Dhaka, Bangladesh. 2010

Photo: Shahin Alam, 15

xJf mZr m~xL IJP~vJ \JPjA jJ S ßpUJPj gJPT ßx \J~VJaJnJPuJ KT oªÇ S ßpUJPj gJPT ßxUJPj YJozJ ÊPTJPjJ y~Ç ßmÅPY

pJS~J YJozJ ßgPT oJZ IJr oMrKVr UJmJr ‰fKr TrJ y~Ç KT∂áYJozJ ÊPTJPjJr TJrPe kKrPmv jÓ y~Ç

yJ\JKrmJV aqJjJKr, dJTJ, mJÄuJPhv, 2010

ZKm: vJKyj IJuo, 15

46

Look at this child. He is working in a hazardous placebut there is nobody to stop him working there. He isalone and this is the only way he knows how to live.Hazaribagh Tannery, Dhaka, Bangladesh, 2010

Photo: Md. Farid, 13

mJóYJèPuJPT ßhUMj, TL ^MÅKT KjP~ TJ\ TrPZ! KT∂á ßTC ßjA ßpSPT SUJj ßgPT xKrP~ ßjPmÇ FA hMKj~J~ S FTJÇ mÅJYJr IJr

ßTJPjJ rJ˜JS ßx \JPj jJÇyJ\JKrmJV aqJjJKr, dJTJ, mJÄuJPhv, 2010

ZKm: ßoJ: lKrh, 13

47

Our fellow trainee photographer Manoj Baroi is a bitrestless. I captured his spirit in this photograph on thesecond day of our photography training.Char Kauwa, Barisal, Bangladesh, 2010


IJoJPhr IJPuJTKY© k´KvãPer xykJKb oPjJ\ mJQzmqJkJraJ KjP~ hJr∆e CP•K\fÇ ßTJPxtr 2~ KhPj fJr ZKm

ßfJuJr CP•\jJ IJoJr TqJPorJ~ iPr rJKUÇYr TJC~J, mKrvJu, mJÄuJPhv, 2010


48

Because of a lack of shelter, these people are resting ona wall. After a long day’s work, one needs a bed and agood environment to rest. These sleeping workers haveno other place to rest.Mirpur, Dhaka, Bangladesh, 2010


oJjMwèPuJ ßh~JPu ÊP~ Kmv´Jo KjPóZÇ xJrJKhPjr aJjJ TJP\r krKmv´JPor \jq FT\j oJjMPwr YJA FTaJ KmZJjJ IJr FTaá nJPuJkKrPmvÇ FA ßp ßuJTèPuJ WMPoJPóZ, SPhr Kmv´JPor \jq ßTJPjJ

IJr ßTJPjJ \J~VJ ßjAÇKorkMr, dJTJ, mJÄuJPhv, 2010


49

I used to sleep here at the Barisal river port. NowI live at a drop-in centre. This child also has theright to live a better life.Barisal river port, Barisal, Bangladesh, 2010

Photo: Dulal Hossain, 12

FTKhj IJKoS FA uûWJPa WMoJfJoÇ FUj IJKo csk-Aj ßx≤JPrgJKTÇ FA KvÊKarS nJPuJ \Lmj CkPnJPVr IKiTJr rP~PZÇ

mKrvJu uûWJa, mKrvJu, mJÄuJPhv, 2010

ZKm: hMuJu ßyJPxj, 12

50

Mirpur Meat Market is a niceplace but the butchers make itdirty. But they are very skilled

and carve the meat well for thebuyers. When the different cuts

of meat are well arranged, itlooks good. Their dexterity

minimizes their faults.Mirpur, Dhaka, Bangladesh, 2010


KorkMr oJÄx mJ\Jr \J~VJaJ UMm xMªr\J~VJÇ KT∂á TxJAP~rJ \J~VJaJPT

ßjJÄrJ TPr rJPUÇ fPm SrJ ßmv hãÇoJÄxaJPT FojnJPm TJPa pJPf

ßâfJrJ IJTíÓ y~Ç TJaJ oJÄx xJK\P~rJUPu ßhUPf nJPuJ uJPVÇ

KorkMr, dJTJ, mJÄuJPhv, 2010

ZKm: TJ\L uJmjL, 13

51

Fish from the River Kirtonkhola are famous in Barisal fortheir colour, smell and taste. Now is the best time tocatch the fish. I wish the smiling face of the fishermancould last forever.Barisal Kirtonkhola River, Bangladesh, 2010


mKrvJPur TL•tjPUJuJ jhLr AKuv rÄ, Vº FmÄ ˝JPhr \jqKmUqJfÇ FUjA AKuv irJr ßoRxMoÇ IJKo YJA ß\Pur oMPU FA

yJKx xJrJ \Lmj gJTÇTL•tjPUJuJ jhL, mKrvJu, mJÄuJPhv, 2010


Living colour and energy of life.Char Kauwa, Barisal, Bangladesh, 2010


rKXj VKf... \Lmj S \LKmTJrÇYr TJC~J, mKrvJu, mJÄuJPhv, 2010

ZKm: oPjJ\ mJzA, 14

52

Colors of life.Dopdopia Ferryghat, Barisal, Bangladesh, 2010


\LmPjr KmKY© rXÇhkhKk~J ßlKrWJa, mKrvJu, mJÄuJPhv 2010


53

54

This factory in Barisal producesenergy-saving light bulbs. It alsoprovides women with a congenial

working environment and a medicalfacility.

Hatkhola, Barisal, Bangladesh, 2010


FA TJrUJjJ KmhMq& xJv´~L mJKf ‰fKr TPrÇFUJPj oKyuJrJ TJP\r CkPpJVL kKrPmv IJr

KYKT&xJ ßxmJ kJjÇyJaPUJuJ, mKrvJu, mJÄuJPhv, 2010

ZKm: oPjJ\ mJzA, 14

55

Chandni 14, a member of our drop-in centre, works at abeauty parlor as a beautician. She has put her pastbehind her and is moving forward.Barisal, Bangladesh, 2010


ßYR¨ mZPrr YÅJhKj IJoJPhr csk-Aj ßx≤JPrr FT\j xhxqÇFTKa KmCKa kJutJPr KmCKaKv~Jj KyPxPm TJ\ TPrÇ ßx fJr IfLf

\LmPjr TÓ náPu xJoPj FKVP~ YPuPZÇmKrvJu, mJÄuJPhv, 2010


56

Poverty forces children to find differentways of earning money. This girl sells

water and earns a small amount of moneyto help with the family expenses. Many

children in our society are able to study,play and be happy. I wish that the rich

would take action to improve the lives ofstreet children.

Savar Park, Dhaka, Bangladesh, 2010


VKrKm mJóYJPhrPT k~xJ CkJ\tPjr \jqjJjJj rTo kPg ßbPu ßh~Ç FA ßoP~aJ

kJKj KmKâ TPr I· KTZá k~xJ TJoJ~Ç ßxAaJTJ KhP~ Sr kKrmJPrr p&xJoJjq k´P~J\j

ßoPaÇ IJoJPhr xoJP\r IPjT mJóYJ kzPf,ßUuPf IJr IJjPª \Lmj TJaJPf kJPrÇ

IJKo YJA ijLrJ kgKvÊPhr \LmjoJj CjúfTrJr CPhqJV KjTÇ

xJnJr kJTt, dJTJ, mJÄuJPhv, 2010


57

Education is not a privilege, it is our right. But Priti 11,works at a tobacco (bidi) factory and is deprived of thatright. If we can ensure that girls like Priti get aneducation, our country will have a better future.Barisal, Bangladesh, 2010


KvãJ xMPpJV j~, IKiTJrÇ k´LKfr m~x 11Ç S FTKa KmKzTJrUJjJ~ TJ\ TrPZÇ S FA IKiTJr ßgPT mKûfÇ k´LKfr oPfJ

ßoP~Phr kzJPvJjJ IJorJ pKh KjKÁf TrPf kJKr IJoJPhr ßhPvrnKmwqf IJPrJ nJPuJ yPmÇmKrvJu, mJÄuJPhv, 2010


58

Girls of our age go to these beauty parlours and someget themselves photographed afterwards. I see a red buspass the parlour, and realise that the signboard on theparlour is red, the bus is red and so is my dress. I amnot in the photo but red is - isn’t that fun?Mirpur, Dhaka, Bangladesh, 2010


IJoJPhr m~xL ßoP~rJ KmCKa kJutJPr pJ~Ç ßTC ßTC ßxUJj ßgPTZKmS fáuPf pJ~Ç FTaJ uJu rPXr mJxPT kJutJPrr xJoPj KhP~

ßpPf ßhUuJoÇ fJrkrA ßU~Ju yPuJ kJutJPrr xJAjPmJctaJS uJurPXrÇ IJmJr IJoJr \JoJaJS uJu! IJKo FA ZKmaJPf ßjA, uJuaJ

IJPZÇ TL o\J, fJA jJ?KorkMr, dJTJ, mJÄuJPhv, 2010


59

Amusement parks are fun to visit at night. All thecolorful lights make the place look really beautiful. Ithink photography is important in this world. Withoutphotography, children from the street would not be ableto talk about their rights.Shishumela, Shamoly, Dhaka, Bangladesh, 2010

Photo: Pinki Akter, 12

rJPfr ßmuJ KvÊ kJPTt ßmzJPf nJKr o\JÇ rKXj xm mJKfPf\J~VJaJ UMm xMªr ßhUJ~Ç ZKm ßfJuJ FA hMKj~Jr \jq UMm \r∆Kr

mqJkJrÇ ZKm jJ fáuPu kPgr mJóYJrJ KjP\Phr IKiTJPrr TgJmuPfA kJrPfJ jJÇ

KvÊPouJ, vqJoKu, dJTJ, mJÄuJPhv, 2010

ZKm: KkÄKT IJÜJr, 12

60

The little boy, Nayan, and his fatherare snake charmers. It is a risky way

to earn money but poverty hasmade Nayan brave. Now he can

handle snakes comfortably.Savar, Dhaka, Bangladesh. 2010


ßZJ¢ ßZPu j~jÇ mJmJ xJkMPzÇ ^ÅMKT KjP~aJTJ ßrJ\VJr TrPf y~ fÅJPTÇ KT∂á

VKrKm j~jPT xJyxL mJKjP~PZÇ FUj SIJrJoPx xJk ßUuJ ßhUJPf kJPrÇ

xJnJr, dJTJ, mJÄuJPhv, 2010


61

I love to see monkeys dance. They live in trees in theforests but are brought to the villages to entertainpeople. This is the way some people earn a living tosustain their families.Karwanbazar, Dhaka, Bangladesh, 2010

Photo: Md. Roni, 14

mÅJhrjJY ßhUPf UMm nJPuJ uJPV IJoJrÇ \ñPu VJPZ VJPZ gJPTFrJÇ oJjMwPT IJjª KhPf FPhrPT iPr IJjJ y~Ç xÄxJr

YJuJPjJr \jq FnJPm jJjJ CkJ~ ßmr TPr oJjMwÇTJrS~JjmJ\Jr, dJTJ, mJÄuJPhv, 2010

ZKm: ßoJ: rKj, 14

62

This cat lives in the house next to our drop-in centreand does not usually come to our place. The cat onlycomes to eat food when we have lunch at noon. As Iwas about to go outside after the meal, I suddenlyfound the cat sitting in a narrow lane. I liked the scenevery much, especially the eyes of the cat.Mohakhali, Dhaka, Bangladesh, 2010


IJoJPhr csk-Aj ßx≤JPrr kJPvr mJKzPf ßmzJuaJ gJPTÇIJoJPhr FUJPj UMm FTaJ IJPx jJÇ ÊiM pUj hMkMPr IJoJPhr

UJmJPrr xo~ y~ fUj IJPxÇ UJS~J ßvPw pUj ßmPrJKóZ, ßhKU,ßmzJuaJ xr∆ VKuaJ~ mPx IJPZÇ hJr∆e uJVPuJ hOvqaJ, KmPvw

TPr Sr ßYJUP\JzJÇoyJUJKu, dJTJ, mJÄuJPhv, 2010


63

Our national animal is the ferocious tiger, but we needgo to the zoo to see them. These children living on thestreets do not have parents, so they have no money tovisit the zoo. I sell newspapers here. These children andI play with this clay tiger and dream about the realferocious ones and our future.Sonargaon Road, Dhaka, Bangladesh, 2010

Photo: Md. Roni, 14

IJoJPhr \JfL~ kÊ yPóZ KyÄxs mJWÇ mJW ßhUPf yPu KYKz~JUJjJ~ßpPf y~Ç FA KvÊrJ rJ˜J~ gJPT, mJmJ-oJ ßjAÇ SPhr aJTJk~xJS ßjAÇ fJA KYKz~JUJjJ~ ßpPf kJPr jJÇ IJKo FUJPjA

UmPrr TJV\ ßmKYÇ FA mJóYJrJ IJr IJKo FA oJKar mJPWr xPñßUKuÇ IJKo ˝Pkú FTaJ xKfqTJPrr KyÄxs mJWPT ßhKUÇ IJoJPhr

nKmwqfPTSÇßxJjJrVÅJS ßrJc, dJTJ, mJÄuJPhv, 2010

ZKm: ßoJ: rKj, 14

64

In this open air school, after studies, the teacher getsthe children to sit in circles and play. Within this circle,the children draw and sing. Watching them dancinghappily made me feel good.Mirpur PCAR/PMUK Open-air School, Dhaka, Bangladesh,2010


FA SPkj F~Jr ÛáPu TîJx ßvw yPu kPr KvãPTrJ mJóYJPhrßVJu TPr mxJjÇ fJrkr ßUuJ Êr∆ TPrjÇ mOP•r ßnfPr

mJóYJrJ ZKm IÅJPT, VJj VJ~Ç SPhr IJjª, SPhr VJj IJoJPTSIJjKªf TPrÇ

KorkMr KkKxFIJr/KkFoACPT SPkj F~Jr Ûáu, dJTJ,mJÄuJPhv, 2010


65

A 12 or 13 year old boy, the son of a freedom fighter, iscaught while stealing a mobile phone and his captorsbeat him and cut his hair. The boy, a drug addict, stealswallets and mobile phones and resells those to get moneyfor drugs. He managed to escape from his captors, butwhat is his future as a drug addict and a thief?Hazaribagh, Dhaka, Bangladesh, 2010


FTaJ 12-13 mZPrr ßZPu, oMKÜPpJ≠Jr x∂Jj, ßoJmJAu ßlJjYáKr TrPf KVP~ irJ kPz ßVPZÇ ßuJT\j SPT KkKaP~ oJgJr Yáu

ßTPa KhP~PZÇ ßZPuaJ oJhTJxÜÇ YáKr TrJ aJTJk~xJ IJrßoJmJAu ßlJj ßmPY pJ kJ~ fJ KhP~ ßjvJ TPrÇ S ßvw kpt∂

SUJj ßgPT kJKuP~ mÅJYPuJ KbTA, KT∂á oJhTJxÜ IJr ßYJrKyPxPm Sr nKmwq& IJxPu TL?

yJ\JKrmJV, dJTJ, mJÄuJPhv, 2010


66

As I passed the railway line, Isaw many children running,jumping and climbing on to

the roof of a train. Then Idecided to take a photo and

found this boy climbing downfrom the roof with a bowl onhis head. I do not want anychild to put their life at risk

like this.Kamalapur, Dhaka,Bangladesh, 2010


ßruuJAj kJr yS~Jr xo~ßhUuJo IPjT mJóYJ ßhRPzJPóZ,

uJlJPóZ, ßasPjr ZJPhr SkrCbPZÇ nJmuJo FTaJ ZKm ßfJuJ

pJTÇ ßhKU oJgJ~ FTaJ ßmJuKjP~ ßZPuaJ ßasPjr ZJh ßgPT

ßjPo IJxPZÇ IJKo YJA jJßTJPjJ mJóYJ KjP\r \Lmj Foj

^MÅKTr oMPU ßluMTÇßf\VÅJS, dJTJ, mJÄuJPhv, 2010


67

A child returns home with a bag of firewood.He is deprived of education as his primeneed is to earn a living.Barisal, Bangladesh, 2010

Photo: Salma Akhter, 16

FTKa KvÊ \ôJuJKj TJb KjP~ mJKz KlrPZÇ \LKmTJrfJKVPh ßx KvãJr IKiTJr ßgPT mKûfÇ

mKrvJu, mJÄuJPhv, 2010

ZKm: xJuoJ IJÜJr, 16

68

Rana 15, works here. Anyone who works in this factoryto make puffed rice, puts their life at risk.Hatkhola, Barisal, Bangladesh, 2010

Photo: Moushumi Akhter, 13

kPjr mZPrr rJjJ FUJPj TJ\ TPrÇ oMKz TJrUJjJ~pJrJ TJ\ TPr, \LmPjr ^MÅKT KjP~ TJ\ TPrÇ

yJaPUJuJ, mKrvJu, mJÄuJPhv, 2010

ZKm: ßoRxMoL IJÜJr, 13

69

Many of the labourers in our country do not stoptheir work when they get tired. They are allowed torelax only after finishing their work. I took thisimage of a tired worker taking a short break on theway back home from Sadarghat.Sadarghat, Dhaka, Bangladesh, 2010


IJoJPhr ßhPvr IPjT v´KoT TîJ∂ yP~ ßVPuS TJ\ mºTrPf kJPr jJÇ TJ\ ßvw yPu kPrA ßTmu ZáKa ßoPu SPhrÇ

xhrWJa ßgPT mJKz ßlrJr kPg FA TîJ∂ v´KoT pUj Kmv´JoKjKóZPuj fUj fJr ZKm fáKuÇ

xhrWJa, dJTJ, mJÄuJPhv, 2010


70

I like to get drenched in the rain. I love to play in therain. After this photography training, I have learned anew way to see the rain. A new window has openedfor me.Dopdopia ferry port, Barisal, Bangladesh, 2010

Photo: Dulal Hossain, 12

mOKÓPf Kn\Pf IJoJr nJPuJ uJPVÇ mOKÓPf ßUuPfSÇ lPaJV´JKlßvUJr kr FUj mOKÓPT KnjúnJPm ßhUPf KvPUKZÇ FTaJ jfáj

\JjJuJ UMPu ßVPZ IJoJr \jqÇhkhKk~J ßlKrWJa, mKrvJu, mJÄuJPhv, 2010

ZKm: hMuJu ßyJPxj, 12

71

When you see the tower itself, it is nothing much tolook at. But, the reflection of the tower in the river -the lightly floating clouds mirrored in the water - makesthis an unforgettable scene.Mirpur, Dhaka, Bangladesh, 2010


aJS~Jr IJxPu ßhUJr oPfJ ßTJPjJ K\Kjx j~Ç KT∂á pUj jhLr\Pur SkPr ßnPx ßmzJPjJ ßoPWr ZJ~J kPz, kMPrJ ZKmaJA

IKm˛reL~ yP~ SPbÇKorkMr, dJTJ, mJÄuJPhv, 2010

ZKm: TJ\L uJmjL, 13

72

My smiling friends Pinki and Omrito run aroundexcitedly as the sun sets. We used to play with ourfriends before but now we can capture the moods, theexcitement and the happy days of our lives with ourcameras. I have learned to see things differentlythrough my camera lens.Mohammadpur Beribadh, Dhaka, Bangladesh, 2010

Photo: Lucky Akter, 12

xNpt cámPZÇ IJoJr mºá KkÄKT IJr IoOOf yJxPZ IJr ßhÅRzJPóZÇIJPV IJorJ mºárJ ßUufJoÇ IJr FUj IJoJPhr oPjr Im˙J,

IJoJPhr CP•\jJ IJr IJjª TqJPorJ~ iPrS rJUPf kJKrÇTqJPorJr ßYJU KhP~ IJKo KnjúnJPm ßhUPf KvPUKZÇ

ßoJyJÿhkMr ßmKzmÅJi, dJTJ, mJÄuJPhv, 2010

ZKm: uJKT IJUfJr, 12

73

Sajal, 11 dreams of becoming the captain of a ship. Inhis makeshift boat he keeps his dream alive.Koshaighat, Barisal, Bangladesh, 2010


x\Pur m~x 11Ç ˝kú ßhPU \JyJP\r TJ¬Jj yS~JrÇ Sr FAßnuJ ßxA ˝kúPT mÅJKYP~ ßrPUPZÇ

TxJAWJa, mKrvJu, mJÄuJPhv, 2010


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We looked for beautiful things in our lives tophotograph. I love the geese. They are very beautifuland their bodies glisten. I see many colours in theirfeathers. These ones love to run to the water. Whenthey flap their wings, they look like birds that areabout to fly.Mirpur, Dhaka, Bangladesh, 2010

Photo: Lucky Akter, 12

FTaJ xMªr K\Kjx UÅM\KZuJo pJr ZKm ßfJuJ pJ~Ç IJKorJ\yÅJx UMm nJPuJmJKxÇ nJKr xMªr ßhUPfÇ YTYPT vrLrÇ

SPhr kJUJ~ TPfJ rX! \Pu ßnPx ßmzJPf nJPuJmJPx SrJÇpUj cJjJ ^JkaJ~, oPj y~ FãáKe CPz pJPmÇ

KorkMr, dJTJ, mJÄuJPhv, 2010

ZKm: uJKT IJUfJr, 12

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Launch will come soon and we have to get onboard thelaunch. If I am given something to carry, I will haveenough to buy breakfast.Barisal Launch Terminal, Barisal, Bangladesh, 2010


FTaM kPrA uû IJxPmÇ xmJr IJPV ^ÅJk KhP~ uPû CbPf yPmÇFTaJ ßmÅJYTJ ßkPuA yPuJ, fJrkr o\J TPr jJ˜JÇ

mKrvJu uû WJa, mKrvJu, mJÄuJPhv, 2010

ZKm: ßoJ: oyJKxj ßyJPxj, 12

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The golden twilight over the Kirtonkhola river looks likea painting in a dream. It refreshes the minds of thefisherman, sailing under the construction bridge.Barisal Kirtonkhola River, Bangladesh, 2010

Photo: Md. Ripon, 12

TL•tjPUJuJ jhLPf ßxJjJKu ßVJiNKu FT ˝kúo~ KY© FÅPTßrPUPZÇ KjotJeJiLj msLP\r KjPY oJZ irJr xo~ ß\Pur

ojS IJjPª nPr SPbÇTL•tjPUJuJ jhL, mKrvJu, mJÄuJPhv, 2010

ZKm: ßoJ: Krkj, 12

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List of Participants

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Catalogue Design: Salah Uddin/Drik Production: Drik ([email protected])

001 - Home | UNICEF · PDF file · 2015-10-21and Padakhep Manabik Unnayan Kendra - were directly involved in this venture. This photography project is part of a national communication

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