Category Archives: Photography

Unique Voices, Shared Visions: Meena Nanji and GlobalGirl Media


“GlobalGirls (L-R) Ariana Seymore, Andrea Reyes, Wendy Garcia, Yasmeen Abdullah, Imani Crenshaw

GlobalGirls (L-R) Ariana Seymore, Andrea Reyes, Wendy Garcia, Yasmeen Abdullah, Imani Crenshaw

The idea that we cannot trust the images that saturate our everyday lives is cliché. We suspect the delectable vanilla ice cream in that commercial is really mashed potatoes; we know the actress making eyes at us from the cover of that magazine in the checkout lane is radiant with the grace of Photoshop. Bitter footage delivered to our screens by the news media seems to be a welcome antidote to the cloying wine of those other, clearly misleading, images. At times we still forget that the camera lens ceases to be neutral the moment someone decides where to point it, even as we rely countlessly on such decisions to give us a faithful picture of the most significant issues and events in our communities and beyond.

In the U.S., that “someone,” the average journalist, is white and male. Women and minorities continue to be vastly underrepresented in the media, especially in managerial positions, and there has been little progress toward greater diversity since the 1990s; indeed, there has even been a decline in some categories over the past few years. This incongruity hardly guarantees a panoramic view of the world. Enter GlobalGirl Media.

GlobalGirl Media is a non-profit organization working to put cameras, along with other tools of the journalistic trade, into the hands of young women from underserved communities in the U.S. and around the globe. While still in high school, program participants receive training in new media journalism, learning to speak out about the issues that affect them and their communities, and preparing to be leaders in a world that is changing rapidly with the proliferation of digital technology and social media.

One of the founders of GlobalGirl Media, award-winning filmmaker Meena Nanji, spoke to The Lamp Project about the organization, as well as her work as an artist with a commitment to finding common ground wherever she goes. Nanji has directed a number of short films, including Voices of the Morning, an experimental telling of a young woman’s coming-of-age under Islamic law, and the award-winning full-length documentary View from a Grain of Sand, which follows three Afghani women who fled the violence in their homeland to live as refugees in Pakistan. These personal stories are presented as part of the larger narrative of the violence and injustices suffered by Afghani women over the past several decades and even to this day. The Revolutionary Association of the Women of Afghanistan (RAWA) gradually becomes a fourth character in the documentary.

“Afghani girls in a Pakistan refugee camp in 2001

Afghani girls in a Pakistan refugee camp in 2001

“Still from View from a Grain of Sand

Still from View from a Grain of Sand

According to Nanji, the best part of traveling and engaging with people of different backgrounds is “finding shared visions in places or people where you least expect them.” In her most recent film, Here and Away, Nanji draws inspiration from different, and diverse, sources. She made the film “on a whim” while in India, after reading “Children on a Country Road,” a short story by Franz Kafka. “I was inspired by that story to transpose it into an Indian setting, and make a short film, that is shot in documentary style, though it is fiction,” Nanji explained. “I feel it captures a certain mood of a village in India, the pace of life perhaps… the many sounds that make up an environment.” However, despite the variety of projects that she pursues, Nanji’s work is unified by her ethical and intellectual commitments, her artistic vision. “I think my works are pieces of a larger, coherent ethical project, even though they may not appear that way,” Nanji said. “For the last little while I have been more open to doing projects that were not originally conceived by me, or doing work-for-hire, but I have found that if I don’t agree with their basic concept or ethics, or values, I just cannot do them. I do sometimes pursue ventures that might be sudden leads, but these always fit into my larger conceptual/ethical framework.”

Nanji’s work with Global Girl Media is an extension of the filmmaker’s ethical project; indeed, Nanji came to co-found the organization in part as a response to her experiences while making View from a Grain of Sand. “Amie Williams, who originally conceived of this idea, had actually just been in Kenya during the 2007 elections and had witnessed some horrifying violence and a girl she had been sponsoring for years was a victim to this violence,” Nanji recounted. “And so she came back wanting very much to empower girls somehow to tell their own stories. I too, after Afghanistan, felt that instead of taking people’s stories away, why not give them the tools to tell their own stories. So these ideas coincided and GGM was formed, with the idea to train girls in digital media and other low cost methods of storytelling, of so that they could have a direct voice to digital global platforms. We decided on girls as they are the most marginalized in terms of creating digital content, or even having their perspectives listened to in any way, so we thought it was a great place to start.”

At the moment, GGM has branches in Los Angeles, Chicago, South Africa, and Morocco, but the organization hopes to expand to Kenya, Mozambique, and Brazil, as well as other countries in Latin America and the Middle East. On the GGM website, one finds young women sharing their experiences and reporting on a variety of topics, including women’s rights, sexual violence, street drugs, and living with HIV. One also sees how excited they are to discover their voices and be part of the global conversations on these and other issues.

In the few short years since its founding, GGM has built an impressive record of achievements. A series on reproductive health created by the GGM participants in LA last year was distributed by PBS online. This year, GGM held its first world summit in Chicago. A number of the young women who have been a part of GGM have won prestigious awards, gone on to study film and journalism in college, and have been hired by NGOs to continue pursuing their passion. Over the summer, the LA participants worked on a series of webisodes tackling the issue of food justice, which aired in September. Meanwhile, the Moroccan branch of GGM recently produced a documentary on sexual harassment, which premiered on November 25th. These videos and many others created by GGM participants are available on the organization’s YouTube channel.

“GGM LA 2011 training: Nanji with GlobalGirls Denise Peralta and Imani Crenshaw

GGM LA 2011 training: Nanji with GlobalGirls Denise Peralta and Imani Crenshaw1

​Without diverse and unique voices, we cannot get the whole story. At the same time, we cannot understand the whole story without an appreciation for how interconnected all the parts of it really are. This makes a program like GGM indispensable, not only for the participants, but for all of us, as we try to learn the truth and make sense of this world we share.

Published January 23, 2014

Raechel Running: Light in the Shadows

BY Deborah K. Hirsch

Raechel Running © Cris Mitchell

“The Borderlands is a place that inspires those of us who look for the light in the shadows.” — Raechel Running

Raechel Running’s life is a river winding through contiguous regions, braiding currents from each to create multicultural art. A photographer, she assembles images from throughout the American Southwest, Mexico, and South America, incorporating textiles, paint, and small objects to create multimedia experiences of people and places. Her compositions astonish; their beauty is original, sometimes iconic, and always bold.

Much of Raechel’s portraiture and other compositions capture popular culture in an at once desolate and vivid part of the world: the U.S.-Mexico borderlands. There, everyday elements of cultures combine, even as the politics of national identity–Mexican, Anglo, Indigenous–contrast acutely. Raechel’s lens interprets everything from borderland cowboy culture, farm life in the valley, and small town relics to the wild places of rivers and deserts, and does so by blending artifacts of the old and the new to be found in all of these places.

“I believe words and images are stronger used together,” she says. “Since I was twelve years old, I’ve kept journals and notebooks. I integrate the journaling process into my photo illustrations. Sometimes a quote or an image I’ve found inspires a new way to tell the stories.”

Photo by Raechel Running

Leaving her home in Flagstaff, Arizona, Raechel spent five years in Northern Mexico’s Sierra Madre Range and in rural villages throughout Chihuahua and Sonora. She has lived in the Casas Grandes Valley, an archaeologically and agriculturally rich area only 100 miles south of the US-Mexico border. About this, she says, “As I learned more about the history of the region, my work changed. I went into the fields and deep into The Sierras. I visited ranches and rodeos, cock fights, spiritual ceremonies and documented everyday life.”

Paquimé, as the Casas Grandes Valley was called in Pre-Colombian times, was a trade and cultural hub among indigenous peoples who arrived from all directions. It’s still a place of migrations and fertile valleys, and home to a center for artists who are reviving the distinctive ceramic art of the village of of Mata Oritz.

Photo by Raechel Running
A photo collage honoring the rain symbols from Mesomerica and the Greater Southwest, and the friendship between US anthropologist Spencer MacCallum and Mexican master potter Juan Quezada.

More than 450 potters now work in Mata Oritz, a village that was on the verge of desertion just thirty years ago. This renaissance began with an inspired friendship between native resident and master potter, Juan Quezada, who experimented with local clay and pigments, and US anthropologist, Spencer MacCallum. They have worked together for nearly four decades. Today, Mata Oritz potters are world renowned.

In 2006, MacCallum invited Raechel to be an artist-in-residence, to live and work in Mata Oritz, in an 1870 adobe house. The dream was to create a center for travelers, artists, and researchers interested in the region. Today, the village is home to a renaissance in the Mata Oritz (Paquimé) ceramic arts and the development of contemporary iterations of that ancient style. Raechel has since contributed numerous photographs, as well as website design and writing to the success of this dream, known as the Center for Casas Grandes Studies.

Photo by Raechel Running

Most recently, Raechel helped organize an exhibit in partnership with the Flagstaff Cultural Partners, Borderlands Sierra Club, Northern Arizona Univeristy, and volunteers from No More Deaths. The dynamic community exhibit is titled “BEYOND BORDERS, The Fence, The People, The Land” and explores the cultural and land connections of the Southwestern U.S. and Northern Mexico Borderlands.

The sister exhibit, Raechel’s third exhibition of her visual odyssey in Mexico, is titled “NEPANTLA: Tierra Entre Medio/Between Worlds”, and is at the Flagstaff Photography Center through the end of November. It is a response to the hardships and tensions in the region, and the survival of beauty amidst it all. Raechel says, “In my art and activism I try to overcome despair and to make visual connections for people to foster kinship and hope in these times of change. Borders exist between people and countries but it is also the place where we can unite.”

Raechel is now collaborating with author Craig Childs on a project that combines words and images. The work is supported by The Better Bombshell, a publication project that aims to generate insights into emerging female role models.

Photo by Raechel Running

Raechel uses her work to advance many non-profit organizations that serve social and environmental needs. Among them is the Mexico Program of One Heart World-Wide, which trains community members and outreach workers to provide obstetrical and neonatal care to indigenous women in Mexico’s Copper Canyon region. These women, called Tarahumara (or Rarámuri in their own language), represent only 3% of the Mexico’s population but account for 38% of all maternal deaths.  Most live in small settlements at least three hours away from the nearest health post and a least a day away from the nearest facility equipped to handle deliveries.

One Heart President and Founder, Arlene Samen, says, “Raechel has done so much to highlight the plight of the Tarahumara women in the Copper Canyon, who die needlessly at home due to lack of access to care. Through her photography, Raechel has brought much-needed attention to the cause.”

As Raechel puts it herself:  ”What I have learned from my time in Mexico is, it’s not about being afraid but about the spirit of resiliency and courage to dream against the odds. ”

Raechel Running’s works can be seen online at and, as well as on websites of some of the organizations she supports.

Organizations Raechel supports with her work:

One Heart World-Wide |
One Heart World-Wide improves maternal and neo-natal health among indigenous, Tarahumara communities in Mexico.

Somos La Semilla |
Somos La Semilla is a grassroots organization that works in Southern Arizona and Mexican border towns to create healthy food networks.

Rancho Feliz | | One Heart page
Rancho Feliz is a residential-educational community in Agua Prieta, Mexico.

The Amazon Aid Foundation | Raechel Running bio
The Amazon Aid Foundation is a non-profit that raises awareness about environmental issues in the Amazon through creative collaborative art, music, and science projects.

Published July 11, 2013

Unmovable: Photos by Kelly Creedon


Kelly Creedon ©Stephanie Ewens

There’s an intimacy that comes from seeing people in their homes, surrounded by their possessions. And when people are struggling to hold onto those homes, every detail becomes even more revealing: family photos hanging slightly askew on the walls; a cat curled up on a carefully made bed; household items scattered on countertops—the particulars of day-to-day life that anyone with a roof securely over their head might take for granted. Boston-based documentary photographer Kelly Creedon captures these details in her current project, “We Shall Not Be Moved.” The website and traveling exhibit tell the stories of people in Boston’s working-class and low-income neighborhoods facing foreclosure and eviction in the wake of the subprime mortgage crisis. In partnership with community organization City Life/Vida Urbana, Creedon brings these stories to life in color photographs, supplemented by text, audio, and video, capturing the moment in which embattled tenants and homeowners become activists and community leaders.

©Kelly Creedon

In exhibiting her work, Creedon hangs portraits of people in their homes, alone and isolated, followed by images of them meeting with neighbors, sharing their stories, and eventually taking to the streets. The arrangement of images mirrors the journey many of her subjects take as they move beyond their own personal struggles to join a larger movement.

Before diving into the work of photographing this journey, Creedon sat in on weekly meetings at City Life, at which as many as 80 to 100 people gather to share their stories and learn how to help themselves and each other through collective action. She notes that people come to City Life looking for a way to pay an affordable rent or mortgage to stay in their homes—they’re not looking for handouts.

“I don’t think people are dismissing the question of personal responsibility,” Creedon says, “but they come to realize that there was an entire industry that was behaving irresponsibly.”

©Kelly Creedon

When she started creating images for the project, Creedon talked with City Life members like Reggie Fuller and Louanna Hall. As the only remaining tenants in a foreclosed building that has suffered both a fire and a violent assault on the premises, they were at a loss for what to do when neither the landlord nor the bank would take responsibility for the property. Through their involvement with City Life, they have become outspoken advocates for themselves and for others facing housing displacement, taking part in organized protests throughout Boston.

Marshall Cooper, 75, followed a similar trajectory from hopelessness and frustration to inspiration and a sense of purpose. As the primary caregiver for his ailing parents, he was unable to keep up with the rapidly rising mortgage payments on his house, which went into foreclosure in 2010. But Cooper has refused to leave his home. Working with a legal defense team, he’s fighting to stay there. He has also become a community leader through his collaboration with City Life, which he refers to as his family. Creedon says that even members who lose the fight to keep their own homes often continue working with the organization, because of the relationships they’ve built with others in the community.

“We Shall Not Be Moved” has traveled throughout Boston and New York, providing further opportunities for people to get their stories heard—many of the individuals who appear in Creedon’s work attend the exhibits and speak to attendees. Creedon says this is one of the most rewarding parts of the project.

“I really enjoy watching people see themselves on the wall in a gallery, or hear their own story in a presentation,” she says. “In seeing themselves reinterpreted that way, through someone else’s eyes, they have a different understanding of the power that they have, that their story has and their voice has. It’s a powerful thing to witness the way people transform through that relationship.”

©Kelly Creedon

Creedon is looking to take “We Shall Not Be Moved” on the road to cities in the South and Midwest, and she’s also at work on new projects that will explore the faces and stories behind issues like workers’ and immigrants’ rights.

“The majority of people I’m documenting aren’t in the mainstream narrative we’re seeing in the media and the press,” Creedon says. “They appreciate that someone would take the time to ask them to tell their story and to lift up their story in a public way…and I really like being the person who gets to show up and ask those questions.”

©Kelly Creedon

We Shall Not Be Moved |

So Much to Tell: playwright Raúl Dorantes


On a September evening in one of Chicago’s oldest but least gentrified neighborhoods, two actors step onto a small platform stage and assume character. A hand-painted mural, a map of the US-Mexico border, provides the set. Above it a black and white video begins, with English super-titles. The play is De Camino al Ahorita (the way to the present moment), by Raúl Dorantes. It is presented in Spanish, in a community gallery named Calles y Suenos, in the Mexican-American neighborhood called Pilsen.

Two characters encounter each other here, in a remote desert and intense August heat. One is a young man on his way into the U.S. to find work and realize his ambitions, while the other is an older man retracing his steps back to Mexico after losing nearly all he valued in pursuit of success. One believes in the promise of America, the other is fleeing its dystopian backstory. Together, they are like a dog chasing its own tail. The absurdity is clear but amplified by the simultaneous, almost hallucinatory video segments of souls crossing over from life to death.

Near the end of the play, a third character enters the scene. He is an overly-aggressive border patrol agent with unapparent Latino heritage. His arrival induces confrontation between characters, just as it amplifies the questions: Who is illegal? What is asylum? In answer, the play exposes the ultimate dictator, hunger, and the ultimate lesson, that apparently disparate lives are deeply interconnected.

This play was written for people in this Mexican-American community and beyond, for anyone who knows or cares to know about the immigrant’s struggle between economics (survival and success) and identity. After its closing in Pilsen, it was presented to an audience of 170 at Northeastern Illinois University. It is so like Dorantes to begin at the center and expand.

Actor, JJ Romero in De Camino al Ahorita

In 1992, playwright and author Raúl Dorantes began publishing literary journals in Chicago. His focus was on poetry that explored internal consciousness and experience. That journal continued for three years while Dorantes conducted literary workshops for youth and began a career teaching Spanish. He continues to teach Spanish Language and Hispanic Literature in two Chicago-area colleges.

Dorantes’ own writing has long explored immigration and identity. He reflects deeply on the process of his own changing identity, the identity carried from his native country as it has undergone adaptation and transformation. As he explains, “There is a moment when the identity of the immigrant takes the first row and the Mexican identity moves to the second row. When we want to probe that we are still Mexican, that establishes the moment in which immigrant identity moves to the front. Probably we are not conscious about that shift.”

He has also embraced the shared experiences of immigration as co-founder of the literary journals, Zorros y Erizos (Foxes and Hedgehogs) and Tropel (Herd of Wild Horses). Dorantes has also co-written a book of essays with Febronio Zatarain, titled, Y Nos Vinimos de Mojados: Cultura Mexicana en Chicago (And We Came in Wet: Mexican Culture in Chicago). His continuing journalistic work on the national magazine, Contratiempo, concerns broader Latino culture.

In 2007, Dorantes accepted a pivotal challenge–to write for the Chicago theater company, Aguilon. The resulting play was so successful that it was also presented at the prestigious Goodman Theater. Dorantes’ work as a playwright had gained momentum and he went on to write plays for the theater group, Colectivo el Pozo. The Chicago Reader designated his most recent play a “Critic’s Choice” on its short list of recommendations.

Teacher, cultural activist, and writer, Dorantes’ work itself serves the purposes of several local organizations, but the proceeds from his work as a playwright often go to directly support them. Colectivo el Pozo, Calles y Suenos, Casa Aztlan, Contratiempo–all four are non-profits to which he has made a significant contribution of time, creativity, or proceeds. All are small non-profit organizations with a mission to cultivate and disseminate Latino arts to a broad spectrum of Latino communities.

Speaking of his dedication to these causes, he explained, “Art is probably one of the best ways to become aware of many things, including being aware of our constantly-changing identity.”

Dorantes says his next work will be a play called Incas, about gay culture in the Latino communities of Chicago. Still, he says, “I want to be writing and producing plays about immigrants (not just Mexicans) living in the United States. I think there is so much to tell.”


Pictured above: Actor, Marco Polo Soto; Director, Ignacio Guevara; Playwright, Raúl Dorantes.


more about Raul Dorantes | profile by Arte Y Vida Chicago

Calles y Suenos-Chicago | MySpace Page | Facebook Page
Calles y Suenos-Chicago provides an alternative arts space for exhibition, performing arts, music, film and cultural workshops for the Latino community. A Latino Internationalist community, it works to sustain collaboration and cultural exchange among the diverse Latino communities in Chicago with its sister organizatons in Oaxaca, Mexico.

Casa Aztlan is an educational and social center that offers cultural activities, community service opportunities, leadership development services for youth, adult education, citizenship assistance, emergency services, and community organizing. Casa Aztlan is also on the vanguard of the human rights movement and immigrants’ civil rights.

The mission of Contratiempo is to inform and educate, while creating awareness among Latino communities about the culture, literature, politics and other topics relevant to their daily lives as immigrants in the United States. Its programs include a publishing house, cultural events, literary workshops, a Narrative in Spanish prize, and the publication that gave rise to the organization, the journal, Revista Contratiempo.

Collectivo el Pozo | Facebook Page
Colectivo el Pozo (The Well) is composed of a group of storytellers, poets, and other artists. Together, they produce theatre works written by local authors who write in Spanish. El Pozo promotes the diverse themes of Latin-American immigrants living in the United States.