In 2017, RDJ Refugee Shelter gave 5 asylum seekers cameras and basic photography instruction.
Their task: document a month of their lives in New York City- the highs, the lows, and the parts of New York that surprised them. Each brought a different perspective and experience, as well as varying levels of comfort with the camera.
Hailing from the Carribean, Egypt, and West Africa, they all shared similar challenges upon their arrival to New York. Each person had to find a pro-bono lawyer, apply for asylum, and search for free or low cost housing. The backlog in asylum applications meant that each person had to wait 6-12 months before legally being allowed to work, and years to find out if they’d been granted safety. I assumed their photos would therefore focus on the challenges of New York.
Yet each member chose to take a different tone. Dramane, for instance, focused on "la liberté.”The liberty to pursue work and education.
The freedom from the Malian police.
But most importantly, the freedom to openly admire all of New York's "Beauxs Hommes-” the beautiful men.
Dramane was happy to eschew the typical New York imagery, focusing instead on photographing each attractive man he encountered. Columbia Students. Construction workers. Men out for coffee with their wives. And while his technical skills were often lacking, his ability to connect with people and observe the beautiful was not.
Eventually, Dramane decided to broaden his scope from “Beautiful Men” to "Love and Work." “C’est bon!” he would exclaim, each time he saw evidence of the freedom to earn a living or love in New York City, two things he lacked the freedom to do while in Mali. It was this theme that Dramane ultimately decided to share through his photographs and written story.
Dramane’s work, as well as the other photographers’, were displayed in a Harlem music venue, and showcased during an evening-long storytelling event. Each photographer took and chose the photos they wanted to share and wrote their artist’s statement and captions (sometimes with the help of a translator).
The event, which brought together formerly homeless, government officials, citizens, and asylum seekers, highlighted the city from the perspective of just five of the thousands of asylum seekers who seek refuge there every year. A portion of Dramane’s work, along with the work of three others, is displayed below.
Funding for the project came from West Harlem Development Corporation and Episcopal Charities. Note: The Photos below were not taken by me, but by the 5 photographers who participated in the project.
“My father gave me a camera for my birthday, because he thought it was less dangerous than a bike. He was wrong.”
When I was a child, my father asked me what I wanted as a birthday present. He told me he’d get me anything I wanted, so I asked for a bike. But instead, my father gave me a camera, because he thought it was less dangerous than a bike. He was wrong.
I’ve always had a fascination with photography. During the Egyptian Revolution, I took photos of the people protesting in Tahir Square, and published a book called The Eyes of the Revolution. After that I had to leave my country.
This is a photo of a father who is being reconciled with his child. When you leave your country, you never know when you’re going to see your child again.
I also took a lot of photos of workers, because they are the ones who make the city run. I wanted to highlight the contrasts in the city; the rich and the poor, those who are working everyday and those who are not, the dark and the light.
One of the first things that impressed me about the city were the street musicians. Here, anyone can go into the streets and perform or sing, and no one will stop them.
A lot of my photos are reflection images. When you travel across countries, you become a reflection of yourself. You are still the same person, but traveling in two different mediums.