Statement No. 1
A Photograph by Khalid Alarabi
Everyone pictured has a hand raised, and no hand is empty of a gesture. The most dominant figure, who is propped on the shoulders of an animated man, clasps a metal rod, angling it as if to point the way. Another person present steadies a flag between his fingers, behind which a hand with hennaed fingers clutches a plastic water bottle. Indeed bottles are nearly as ubiquitous as phones, mostly seen at the rear. It is a photograph nearly audible in its composition and mood; we note the surge of a directionless crowd, so uniform in their manner soldiers are freed from the constraints of duty.
— Emmanuel Iduma
“I wanted to show both the joy of the people and the shadow of the betrayal that followed.”
The photograph was taken in Khartoum, Sudan, during the sit-in in Khartoum on April 11, 2019. The military commander had just announced that the old regime leaders were removed and captured, and that the people had won. Despite the intense heat, everyone celebrated and cheered, not knowing that this victory would soon feel like a deception.
It was a hot day in Khartoum, but the excitement was overwhelming. The announcement from the military commander sparked a huge celebration. The crowd erupted with joy, believing they had achieved a great victory. I was in the middle of the crowd, wanting to capture the intense emotions of that moment. Amid the cheers, I spotted a soldier lifted above the crowd, holding a stick high in the air. People around him were cheering, waving flags, and holding water bottles to stay cool. Their faces showed pure happiness and relief, convinced that they had won their freedom.
I chose this photograph because it captures the powerful emotions of that day. The soldier raised above the crowd, surrounded by joyful people, symbolizes the hope and unity of the moment. The energy and expressions of the people tell the story of their desire for change. This image is a mix of joy and sorrow. It shows the brief moment of triumph before the realization of the military's trickery. The celebration was real, but the promised change was not.
In this photograph, I wanted to show both the joy of the people and the shadow of the betrayal that followed. It is a reminder of the difficult and often painful path to true freedom and justice.
— Khalid Alarabi
About Khalid Alarabi
Khalid Alarabi is a visual artist specializing in photography. With over a decade of experience, he is skilled in various styles, including street, portrait, documentary, and commercial photography. Khalid’s work has been featured in exhibitions and publications, and he is also an educator who shares his knowledge with aspiring photographers. Find more of his work on his website and on Instagram.
LAST WEEK — “Epiphany” by Mosa'ab Elshamy
I saw this man swaying to melodies and chants in a captivating trance. He seemed totally immersed in the moment, chanting from time to time, and whirling faster and faster. I took some images from afar and slowly got closer to get the right moment and center him in the frame.
This is the 126th edition of this publication. The newsletter also read on web (best for viewing images), and via the Substack iOS/Android apps.
TENDER PHOTO is a collaborative digital archive and publishing platform of contemporary African photography, edited by Emmanuel Iduma. Our aim is to use photography to engage with life on the African continent. We publish narratives about the people, places, and events pictured in photographs, contributing to nuanced and layered perceptions.
Every Wednesday we feature a photograph, a short caption about it, and a statement from the photographer. Last year, we published commentaries or photo-essays in response to photographs previously featured on the newsletter, including CORRESPONDENCES, CONCORDANCE, KINDRED, INDEX, and AFFINITIES. Our ongoing Friday series is dedicated to the 5 photographers featured in Process Projected, Amsterdam.
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