{"id":5323,"date":"2021-11-16T12:00:52","date_gmt":"2021-11-16T12:00:52","guid":{"rendered":"https:\/\/www.goodfoodjobs.com\/blog\/?p=5323"},"modified":"2021-11-16T15:49:21","modified_gmt":"2021-11-16T15:49:21","slug":"food-as-the-key-to-storytelling-traveling-across-iraq-with-award-winning-british-photojournalist-emily-garthwaite","status":"publish","type":"post","link":"https:\/\/www.dev.goodfoodjobs.com\/blog\/food-as-the-key-to-storytelling-traveling-across-iraq-with-award-winning-british-photojournalist-emily-garthwaite\/","title":{"rendered":"Food as the Key to Storytelling: Traveling Across Iraq With Award-Winning British Photojournalist Emily Garthwaite"},"content":{"rendered":"

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\u201cI think I\u2019ve earned respect through eating food. Sometimes, there have been things that I\u2019m not particularly excited to try, but I eat them anyway because to do otherwise would have been a sign of disrespect.\u201d Partaking in the impaled remains of a sheep may not have been within the realm of her everyday dietary preferences, but for photographer Emily Garthwaite, the intimate privilege of being let into her subjects\u2019 lives is one that she never takes for granted.\u00a0<\/span><\/p>\n

Her regard for these individuals<\/span> is apparent as she recalls watching members of the family, with whom she was dining, \u201cpassing down platters of ribs and grilled, very fatty meat down on to the rug,\u201d each of them unable to contain their excitement. While Garthwaite finished every single one of the proffered ribs, she confesses to not, at the time, having enjoyed it \u201cat all.\u201d She woke up quite ill the next day because her stomach, \u201cis nowhere near being used to digesting that much fat <\/span>\u2014 <\/span>and pure fat at that.\u201d In retrospect, this was a small price to pay because she found that she had earned more than just an honorary place at the table.<\/span><\/p>\n

The act of growing food has the potential to awaken people to much broader questions about the way in which it is a shared humanity<\/span><\/p><\/blockquote>\n

It\u2019s hard to believe Garthwaite when she says that it took \u201cabout three years to work out what aperture was\u201d but it is perhaps this degree of deliberation over technique that has come to be associated with her distinct style of slow photography and storytelling. She is as consumed by the art of representation as she is with the lived experience of shared humanity, religion and displacement <\/span>\u2014 <\/span>themes that have come to define her work and have earned her a place on the <\/span>Forbes<\/span><\/i> 30 Under 30 list and as a Leica ambassador. Her work has been exhibited internationally at the World Economic Forum in Switzerland, The Natural History Museum in London and, more recently, at EXPO 2020 in Dubai.<\/span><\/p>\n

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Hossein drinking chai with walnut husk stained hands.<\/p><\/div>\n

Garthwaite looks back at the three stages of her self-taught journey in photography through a lens of self-awareness <\/span>\u2014 <\/span>\u00a0one that can only preoccupy those who inhabit every aspect of their art. The first stage, she says, is about, \u201cseeing an image, but not being able to capture it with your camera and the frustrations that come with knowing the exposure is wrong or that it\u2019s too blurry.\u201d This graduates to the second stage of when you can see a picture opportunity and photograph it, \u201cbut you photograph every single angle because composition and your understanding of how exactly to bring things to life is still a learning process.\u201d The final milestone that marks this trajectory, according to Garthwaite, is when, \u201cyou\u2019re able to see the angles and you\u2019ve already done a sort of 360 and gone okay, there it is, and all this is happening at a great speed.\u201d\u00a0<\/span><\/p>\n

What sets these rites of passage apart from Garthwaite\u2019s present-day visual sensibility, however, is that her \u201cwillingness\u201d to press the shutter is <\/span>no longer<\/span> the same. She speaks of the predicament that confronts the best of photographers at the onset of their career. \u201cI used to take photographs in a panic because I worried about missing something but ultimately, you end up missing out, if you\u2019re in a panic. You\u2019ve just got to breathe, be calm, enjoy yourself, and be meditative about the process.\u201d<\/span><\/p>\n

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Umm Jassim prepares traditonal flat bread for her family using a mud oven in the Hammar Marshes, Iraq.<\/p><\/div>\n

The frantic sense of urgency that governed the early days of her learning process has given way to a deep-seated need to dedicate her time to \u201cone place and understanding it\u201d and may be a factor that has prompted her to set up base in Erbil, the capital of Iraqi Kurdistan. She professes to love the Kurdistan region of Iraq, and southern Iraq, and having the opportunity to spend as much time in the community as she does. Walking has proven to be the unassuming mode of entry through which Garthwaite chooses to gain ground while accessing what are most often perceived as \u201cclosed\u201d cultures.\u00a0<\/span><\/p>\n

In fact, it was an invitation to walk and photograph <\/span>Arba\u2019een<\/span><\/a> \u2014 <\/span>the world\u2019s largest annual pilgrimage and a Shi\u2019ite religious observance to commemorate the martyrdom of Al-Husayn ibn Ali, the grandson of Prophet Muhammad <\/span>\u2014 <\/span>that stirred her interest in the region in 2017. Literally translating to \u201cforty\u201d in Arabic, the event draws up to 25 million Shi\u2019a Muslims\u00a0 every year. Pilgrims walk 50 miles between the holy cities of Najaf and Karbala, converging in southern Iraq, to recite the Ziyarat Arba\u2019een prayer, forging a sense of community alongside their unwavering belief. She is emphatic when she says, \u201cWhen this opportunity arose, to photograph a walk of peace with the Shi\u2019a Muslim community, I just thought this was <\/span>exactly <\/span><\/i>what I wanted my life and work to be about. I want<\/span>ed<\/span> to learn about the Shi\u2019a Muslim community in their sacred space, on their terms.\u201d\u00a0<\/span><\/p>\n

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Kianoush, Alboorz and Morteza prepare mutton ribs.<\/p><\/div>\n

Garthwaite confesses that growing up in the UK, her understanding of Iraq was \u201climited.\u201d All she knew was that it was, \u201cprobably somewhere you shouldn\u2019t go because it wasn\u2019t safe and why I felt most driven to go there.\u201d She was excited to walk and \u201cnot be stuck in a car,\u201d but most importantly wanted to treat the pilgrimage with the sensitivity it deserved and not focus on the scenes of ritual flagellation that so many other photographers showcase \u201cwithout understanding the nuance.\u201d With a philosophical pragmatism she states that, \u201ceveryone\u2019s journey to god is different.\u201d<\/span><\/p>\n

Whether attributed to climate change or just \u201cmovement from village to village\u201d, Garthwaite is fixated upon the way people move across land and, more specifically, \u201chow someone travels by foot.\u201d She is quick to draw attention to the fact that she does go to areas, \u201cthat face conflict and a lot of difficulties, but my interests lie beyond that <\/span>\u2014 <\/span>beyond a headline and beyond conflict.\u201d Her website states that she has charted over 650 km through Iraq (she adds a recent three-month long, 2,000-kilometre boat expedition to the logbook), capturing untold stories of contemporary Iraq and its land and people. Garthwaite\u2019s work has spanned pilgrimage, and the \u201cdemonization\u201d of the Shi\u2019a community, and shifted towards looking at the way people who were impacted by airstrikes and land mines and displacement have moved across land in the north of Iraq.\u00a0<\/span><\/p>\n

\"\"<\/a>

Women prepare tishreeb, a traditional dish of shredded bread, rice and chicken broth, in Tikrit, Iraq.<\/p><\/div>\n

Although walking may have allowed her a unique vantage point, food has proved to be one of the most generous and lesser-known equalizers in her journey as a photographer. It is the element that could risk being overlooked but has granted her access to women\u2019s spaces in rural regions in Iraq <\/span>\u2014 <\/span>\u201cwhere women cooked, I helped, and we were able to connect through shared duties\u201d <\/span>\u2014 <\/span>while co-directing <\/span>The 40th Day<\/span><\/i>, a documentary covering Arba\u2019een. Food is the key to navigating the unspoken cultural nuances of etiquette such as the playful back-and-forth volley that is <\/span>taarof<\/span><\/i><\/a>, which has resulted, rather comically, in Garthwaite accepting invitations to tea that were only extended out of politeness.\u00a0<\/span><\/p>\n

While traversing Arba\u2019een, Garthwaite arrived at the resounding realisation that, \u201cfood among weary, dusty pilgrims is absolutely essential.\u201d It was also her first immersion into Iraqi culture and the humble manner in which food was served among the local community in Babylon and Hilla, \u201cwhere for 40 days, people along those routes open up their homes and their hospitality is such that they give food every single day to people.\u201d She speaks of silver trays heaving under the weight of mounds of rice and mutton, \u201cwith salads, nuts and seeds, and big bowls of fruit at the end.\u201d It is, according to her, generosity on a scale so unimaginable with households sometimes slaughtering up to two sheep a day, depending on their incomes. \u201cThere is plenty for the needy, vulnerable and widows.\u201d<\/span><\/p>\n

Food can tell the story of grief, disenfranchisement and a lack of agency<\/span><\/p><\/blockquote>\n

Food, emphasizes Garthwaite, \u201cis the key to storytelling and a great way to have a safe conversation, particularly in Iraq and the southern part of the Kurdistan region, where lots of people <\/span>\u2014 <\/span>and their parents and grandparents <\/span>\u2014 <\/span>have been through incredibly traumatic things.\u201d It often serves as the primer into more difficult conversations or of those of being displaced and she says that she and her partner have found that, \u201cthe best way to start getting information is halfway through a meal, where maybe a notepad will come out and we\u2019ll ask people to tell us a story about the moon or the rain or when they last felt at peace and then, something will open up, and it will be an almost spiritual conversation around their life.\u201d<\/span><\/p>\n

There is a non-negotiable degree of respect she extends towards those she interviews and she is vocal about the fact that she never \u201cprods\u201d as she isn\u2019t there with the intent of conducting an investigation. Her interest is centered around creating a long-term body of work around \u201cintangible heritage and culture.\u201d The most beautiful part of this process <\/span>that has been stimulated by food and memory <\/span>is that sometimes, even if people were to ask her not to record what they were talking about, they would have, in those 15 minutes, \u201cshared in confidence, insights that will inform all my work because they may express a universal feeling, I have witnessed across communities.\u201d<\/span><\/p>\n

\"\"<\/a>

Jahan preparing butter from yoghurt inside a leather bag known “khig”. This traditional practice involves shaking the bag to separate the fat from the yoghurt. The sour yoghurt that remains is called “dough” and is drunk with most meals.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Jahan seperates the fat and milk. She pours the remaining goat’s milk into a leather bag known as “mashk”.<\/p><\/div>\n

Food can tell the story of grief, disenfranchisement and a lack of agency when reporting from conflict zones, as in the case of Ahmad, \u201can entirely displaced person from Mosul, who had fled during the war and was living in a refugee camp.\u201d During an interview with Garthwaite, Ahmad recalled a time when his family had been starving and people had taken to eating dogs off the street. They were down to the last remnants of food,<\/span> with just enough flour to make a bit of bread, and limited water supplies. He was hiding out in a house with twenty of his closest family members in an ISIS-controlled area when they heard the clip-clopping of hooves echoing across a silent, bombed road. <\/span>Members of ISIS had arrived with a horse. They proceeded to slit its throat and allowed it to bleed out, subsequently beckoning people to come and buy the meat. <\/span>As head of the family,\u00a0 he bought a \u201cdecent chunk\u201d and carried it back up to his wife who cooked it and served it with bread.\u00a0<\/span><\/p>\n

This interview was being led by Garthwaite\u2019s colleague at Article 36, a non-profit focused on reducing harm from weapons. While her colleague\u2019s inquiry was centered around airstrikes and the impact of \u201creally harrowing things,\u201d the question foremost on Garthwaite\u2019s mind was why Ahmad hadn\u2019t eaten the meat when he had mentioned he was starving. She wondered whether he had foregone a meal to ensure his family was fed.<\/span><\/p>\n

Ahmad\u2019s response was one that Garthwaite could never have predicted as he stated, poker-faced, that it was because he was vegetarian. She claims that it remains one of her favorite anecdotes because it made all of them laugh for quite a while even though they had been moved by all Ahmad had been through and how brave he had been. More importantly, it made Garthwaite shift her attention to that oft-forgotten aspect of \u201csilent dignity.\u201d \u201cEven in the face of the horrors of war and oppression and fear and terror, he claimed, at all costs, his dignity and life choices.\u201d These are the food stories that \u201care so much greater than just about breaking bread.\u201d<\/span><\/p>\n

She chose to shine the spotlight on the one thing she never tires of, the mundane<\/span><\/p><\/blockquote>\n

There is an understated strand in most of Garthwaite\u2019s stories that explores, \u201ca synchronicity with Mother Earth and a synchronicity with the land and abundance in the land.\u201d In October 2020, she was able to join the Mokhtari family, who belonged to the Bakhtiari tribe, as they set out from their summer encampment in Iran\u2019s Isfahan province <\/span>\u2014 <\/span>charting paths well-trodden by their clan <\/span>\u2014 <\/span>\u00a0through the <\/span>Zagros<\/span><\/a> mountains, to their destination in the Khuzestan Province. Parents Hossein and Jahan embarked upon this 150-mile journey, \u201cfrom high pastures to low pastures and then from lower to higher pastures,\u201d along with three of their nine children, several relatives, around five horses, ten donkeys and mules, and hundreds of goats and sheep.<\/span><\/p>\n

The two weeks she spent with them <\/span>\u2014 <\/span>\u201ca long time when you\u2019re walking and having to move hundreds of livestock and work as a team\u201d <\/span>\u2014 <\/span>were a significant moment in her career as a photographer, and she chose to shine the spotlight on the one thing she never tires of, the mundane. The Bakhtiaris, with their commitment to maintaining cultural traditions in the face of globalization and western values are, for Garthwaite, \u201ca great example of doing something that is ordinary to them <\/span>\u2014 <\/span>moving their cattle across a mountain range <\/span>\u2014 <\/span>but entirely aspirational to anybody else.\u201d<\/span><\/p>\n

\"\"<\/a>

Saeed Mahmoud picks an apple from the orchard on his farm which lies on the border with Iran in the Kurdistan Region of Iraq.<\/p><\/div>\n

In documenting this experience, Garthwaite was struck by the inherent reverence for nature that anchors the Bakhtiaris\u2019 mindful lifestyles, and how although there is no concept of ownership of the land,\u00a0 there is a larger sense of being self-appointed custodians of a stretch of the Zagros mountains. She talks of a return to the ways of old where food, berries and herbs are foraged for, and of a cultivar of wild celery that is \u201cso rare within the Zagros mountains that people defend it and spend 365 days a year, preventing people from stealing it.\u201d There are untouched swathes of land that are allowed to grow for three years, where cattle do not graze; and the chance to eat in a seasonally-attuned manner, \u201cpicking handfuls of tiny, tiny little apples with their own set of medicinal benefits.\u201d\u00a0\u00a0<\/span><\/p>\n

The stories that continue to transfix Garthwaite, however, are those that are rooted in the simplest acts. Sometimes she would \u201cwatch Jahan, the mother, just plant a seed with so much love and care,\u201d or make a \u201cvery clear, yellow ghee with the sweetest honey-like flavor in a leather bag in the morning.\u201d Produced from milk fat, Garthwaite goes on to declare it \u201cone of the most delicious things she has tried in her life\u201d and attributes the pronounced profile to the fact that the cattle \u201csurvive off perfumed flowers and graze on wild rosemary and thyme.\u201d<\/span><\/p>\n

The opportunity to feed oneself and cook food and provide for your family is one of the greatest forms of empowerment<\/span><\/p><\/blockquote>\n

Displacement is a theme that runs strongly in Emily\u2019s work but she tries to change the lens through which we look at these subjects. An observation she made in the camps of displaced refugees in Iraq <\/span>\u2014 <\/span>those who have been living in them for a long time and not just arrived <\/span>\u2014 <\/span>is that, \u201cthe opportunity to feed oneself and cook food and provide for your family is one of the greatest forms of empowerment.\u201d\u00a0<\/span><\/p>\n

There is also a charity she\u2019s recently been connecting with that has conceived the idea of building community gardens within refugee camps. These, she believes, are incredibly important for bolstering the spirits of those suffering from PTSD and keeping people focused. \u201cIt\u2019s about abundance and joy and community, and people being brought together by something other than trauma and stress or a need to be together because you\u2019re in cramped spaces.\u201d The act of growing food thus has the potential to awaken people to much broader questions about the way in which it is a shared humanity.\u00a0<\/span><\/p>\n

Garthwaite narrates the dehumanising realities of \u201cbarren refugee camps\u201d and talks about one of her closest friends who had been \u201cstuck within the system for a long time\u201d. The first thing she did when she left was to plant not an ornamental garden with flowers, but one that would produce food, because food was her way of, \u201cconnecting to a land that was not hers but to which she could bring something and grow something from a land that had welcomed her.\u201d<\/span><\/p>\n

\"\"<\/a>

Hashim Hussain, a writer and historian, inside Al-Shabandar cafe in Baghdad, Iraq.<\/p><\/div>\n

Garthwaite attributes the dissociation between food and land today to, \u201cliving in a city, traveling quite a lot and just consuming without giving a thought to where it comes from\u201d <\/span>\u2014 <\/span>something she admits that she can be guilty of herself. She hopes to address this growing sense of disconnect through her work and to be able to, \u201cgo to the spaces where people tend to the earth and focus on the way in which land gives people, and heals people and connects people.\u201d<\/span><\/p>\n

 <\/p>\n

Jehan Nizar<\/span><\/i><\/a> is an independent features writer and food blogger based in Chennai, India. Her work most often explores food as a point of convergence for history and anthropology and has appeared in national and international publications such as PEN America, Whetstone Magazine, The Spruce Eats, Gulf News, The Wire, The Wire Science, Firstpost and Verve Magazine. She formerly wrote a weekly food column for Asiaville. Jehan is also a core member of faculty at The Asian College of Journalism in Chennai, where she teaches feature writing.<\/span><\/i><\/p>\n

Emily Garthwaite<\/span><\/i><\/a> is an award-winning photojournalist, Forbes 30 Under 30 and Leica Ambassador focusing on humanitarian and environmental issues. She has a Masters in Photojournalism and Documentary Photography from the University of Westminster. She is represented by <\/span><\/i>INSTITUTE<\/span><\/i><\/a>, is a Member of the Frontline Freelance Register and Fellow of Abraham Path Initiative. She lives between Iraq and the UK. You can learn more about her work at <\/span><\/i>www.emilygarthwaite.com<\/span><\/i><\/a>.<\/span><\/i><\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cI think I\u2019ve earned respect through eating food. 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