If not being allowed to have strong opinions is not I’m not sure what is
Western outrage at ‘s treatment of continues to shock and awe me. Where do you get off, people?
People who see the west as an end in itself are the mirror image of people who see it as the source of all evil
A “Yes to the Constitution” poster caught in an empty fruit basket. The 2013 constitution as the first major step in the roadmap following the ousting of the Muslim Brotherhood president Mohamed Morsi was very widely promoted. Many equated passing it with nominating the current commander of the army, now Field Marshal Abdelfattah al Sisi, for the presidency.
Since the passing of the constitution posters of Sisi, often accompanied by the national flag, have cropped up everywhere in Cairo. The extremely religious general is seen as a national hero and the future saviour president. The problem that presents itself for the next step on the roadmap, the presidential elections, is that he can have no competition. Yet Sisi has yet to resign from his military post to be an eligible candidate.
One of many, possibly autistic beggars in downtown Cairo. Beggars, along with peddlers/hustlers and valets, makes up a huge part of the informal economy. The phenomena have risen rapidly since 2011, when Hosny Mubarak was ousted following huge protests centred in Tahrir Square. It reflects a weaker security apparatus and economic recess.
Semit, a baked snack, stacked on the traffic island on the October Bridge, one of the main traffic arteries connecting many points in the city. Other goods include Chinese-made toys, air fresheners and soft drinks. More recently peddlers have also been selling ID-card trinkets with pictures of Sisi and “A patriotic Egyptian” where the name of the bearer should be. They are often heard calling out, “Sisi for a pound!”
A street cleaner employed by one the state-affiliated companies sits on the traffic island. Street cleaners are very badly paid and many of them do far less cleaning than begginig. They are less aggressive than professional beggars but it is now widely accepted that this is how they earn their livelihood. Dressed in green or orange uniforms, they mope around the cars during traffic jams and sit by the side of the road.
This man lives in and around the October Bridge, surviving on the more or less silent charity of drivers. He spends most of his time engaged in serious conversations with no one in particular, often shouting the names of politicians like Mubarak, Morsi or Sisis. Very probably schizophrenic, the chances are he used to be confined to the Abbassiya state asylum and was illegally released or left to wander. There are many such mentally disturbed characters, some stark naked, who live on the streets of Cairo.
A newcomer to the begging arena on Ramses Road is making use of a traffic jam to solicit charity. Beggars and hustlers are often seen fighting among themselves over turf.
Traffic congestion and urban chaos have increased exponentially since 2011, with people spending up to five hours driving a distance of a few kilometres.
A huge poster of Sisi promoting him as the leader of the Egyptian people is painfully reminiscent of similar gestures in the time of Mubarak. Such displays of sycophancy and “leader”-worship are both official and unofficial, and they form a significant obstacle in the way of developing a politically realistic, let alone democratic mentality.
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Legendary photographer Josef Koudelka packed the house at the Paramount Theater in downtown Charlottesville during the Look3 Festival of the Photograph over the weekend, and the audience greeted him with a standing ovation after master of ceremonies, photographer Vince Musi, announced that Koudelka had been reluctant to participate. Koudelka, who has a reputation as a lone wolf among a group of peers known for their independence, has rarely granted interviews during a career that spans more than 40 years.
“Of course I don’t feel very comfortable to be here. I am not a good speaker,” said Koudelka, who was nevertheless gracious to Anne Wilkes Tucker, curator at the Museum of Fine Arts Houston, who was also on stage to interview him. “I don’t know what she’s going to ask me, [but] I gave her assurance I would answer everything…I will try to be as honest as possible.”
Koudelka also told the audience at the outset that he “never listened much to what [other] photographers say,” and recounted how Henri Cartier-Bresson had asked him to read and comment on the text of The Decisive Moment before that book was published. “I said to Bresson I’m really not interested and I’m not going to read it.” Koudelka added, “I think the best portrait of a photographer are his photographs, so please judge me on my photographs.”
The audience cheered, and the program got under way with a projection of a sampling of Koudelka’s earliest work–a documentary of stage actors during performances, followed by a series of abstract images that stemmed from his work as a theater photographer. The program alternated between silent projections of Koudelka’s major bodies of work, presented chronologically, followed by several minutes of Q&A conversation between Tucker and Koudelka about that work.
Here’s an edited version of the conversation. The headings indicate the subjects of the major bodies of Koudelka’s work, and when it appeared during the program.