A Map of Africa
A Photograph by Taha Jawashi
Besides those who look into the camera and those who look away, there are others whose heads are bowed. One, in particular, carries his head on a hand. There is nothing of him to be seen besides this gesture of withdrawal, his identity as opaque as those sheets of rolled paper. Other expressions are sober. The picture, intended in its quick take to capture most of the scene, is cropped at an angle that tells little of how many more people might be there. Yet consider the overhanging presence of a map, marking the storied country where this river of men have pooled into.
— Emmanuel Iduma
“My goal was to reveal the common humanity of Africans.”
This photograph was taken in a migrant detention center in Tajoura, 20km east of Tripoli, Libya. A group of sub-Saharan migrants was intercepted by Libyan coast guards at sea and were sent to the Tajoura detention center.
The background is interesting, we can see a map of Africa, with Libya labeled with a different color. I am also interested in the expression on the faces of these immigrants who crossed great distances to go to Europe but were intercepted in the last phase of their journey.
My goal with this photograph was to reveal the common humanity of Africans, demonstrating that they experience the same pain and harbor the same hopes.
— Taha Jawashi
About Tahar Jawashi
A former tour guide in Libya, Tahar Jawashi initially explored the world through the lens of a hobbyist photographer. However the 2011 uprising in Libya redefined his path, transforming passion into a profession. As a freelance photojournalist, he has dedicated seven years to capturing the human stories behind the immigration crisis in Libya, with his work featured in publications like The New York Times, The Washington Post, and The Times. His journey led me to Spain in 2018, where he now contributes his visual storytelling expertise to documentary films as a DP and camera operator. More of his work can be found on his Instagram.
RELATED — “Place du Souvenir Africain, Dakar” by Katia Golovko
The photograph bears in itself some kind of poetic relationship that does not need to be put in words but is sufficient as an image, I think. While all of these elements of the photograph may or may not be there, they happen to create a polyphonic relationship with each other. I find the image of the four empty chairs particularly mesmerizing.
LAST WEEK — “Love, Loss, and Longing” by Hadeer Mahmoud
I was honored to meet Sara Mourad, one of the main figures in this project. I spoke with her extensively to understand the feelings of loss she experiences. Sara shared that her simplest wish was to sit with her husband and share a meal, as cooking and eating together were moments of warmth and joy for them.
The second edition of the Tender Photo Editorial Fellowship is now open for applications to writers based in an African country. Spread the word or apply!
This is the 149th 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 digital platform of African photography, founded by Emmanuel Iduma. Our aim is to engage with life on the African continent through photography. 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. In the past, we have published commentaries or photo-essays in response to photographs previously featured on the newsletter, including CORRESPONDENCES, CONCORDANCE, KINDRED, INDEX, and AFFINITIES.
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