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want to be a photojournalist and work with streetchildren to improve their lives. I was a street
child myself. Those who live in houses will neverunderstand how hard life is on the street.
Md. Foysal, Dhaka
I
4
The tiger is set in stone, high-rise buildings overlook intense
traffic, a child wanders aimlessly between railway lines… In
a trailer, a tired worker is huddled up, a boy is caught
stealing… In the midst of this dark, harsh world, there are
also pinpricks of light: a simple home is painted in bright
colours, two children laugh from the back of a rickshaw, a
boy is suspended mid-air to catch a ball, a man brandishes a
fish with a large smile…
These are scenes of the urban jungle, presented to us
through photographs by twenty children aged 12-16 living
in Dhaka and in Barisal. These young photographers have
all spent part of their lives living on the streets, or have
been working since a tender age to support themselves and
their families.
When given a camera, some of the children set out to
capture the beauty of their world; the magnificent
landscapes, the moments of joy. But others wanted to
expose the ugly side of life in Bangladesh: children being
exploited, living in appalling conditions, those deprived of
education and forced to work in order to survive.
Many of the children tell their own stories through the
images in this collection: ‘I used to sleep here at the Barisal
river port’ recalls 12 year-old Dulal. In Dhaka, Farid and
Kader’s pictures at Kamlapur Railway Station remind them of
the struggles of early childhood, while Sima chooses to
The tiger and the jungle
5
return to Mirpur Mazar to photograph girls whose lives
mirror her own.
The children’s words are simple and sincere and, together
with the images, they give an insight into their inner
world; their joys, their pains, the dream to ‘fly high’, the
torture of a window full of toys they cannot play with.
But can things be different for these children, so often
treated as the dregs of society? Will we accept that
poverty, exploitation and deprivation is their fate?
UNICEF believes that the first step toward changing
societal views about children who live and work on the
street, is to give these children a chance to express
themselves in the public sphere; to have their feelings,
ideas and creativity understood and appreciated. Having
their words and images featured in this collection
represents an important form of social recognition for
the children involved - all of whom are beneficiaries of
the Protection of Children at Risk (PCAR) project under
the Department of Social Services, Ministry of Social
Welfare, supported by UNICEF and implemented by
national NGOs. Two such NGOs - Aparajeyo-Bangladesh
and Padakhep Manabik Unnayan Kendra - were directly
involved in this venture. This photography project is part
of a national communication campaign to combat the
social acceptance of child labour (launched in June
2010) and could not have existed without the
partnership with Drik and Pathshala, the South Asian
Media Academy. UNICEF is also grateful to Telenor, which
has been generously funding the campaign against child
labour as well as the PCAR project, through the National
Committee for UNICEF in Norway.
As a result of PCAR interventions, most of the children
whose images feature in this collection now live in
shelter homes and benefit from a variety of social
services. Many have been able to go back to school or to
undertake vocational training leading to better job
opportunities. The PCAR project supports close to 8,000
children, but what of the others? There are currently
several million children involved in child labour and the
number is likely to increase as a result of rapid
urbanization. Will we leave these children to fend for
themselves in the urban jungle? Or will we collectively
find the means to protect them and allow them to
achieve their full potential? After all, even in the jungle,
the tigress knows how to take care of her little ones.
Carel de Rooy
UNICEF Representative
6
There is a certain arrogance in ‘teaching’ anything. The
assumption that you know best, and the certainty that
you are in authority. The clear hierarchy. Bhaiya and
Apa, against tumi or tui. When advantages of age and
access are coupled with differences of class, it forms a
dangerous mix. One needs to tread warily. The medium
of photography, because of its power, is a dangerous
tool. One hopes to share the adventure of a new way
of seeing, but stay alert to the traps of privileged
voyeurism. To empower and not be patronizing. To
open windows of opportunity. To let in fresh ideas, but
not trample on thoughts that exist.
It’s been tried before. The novelty of teaching children,
the moral high ground through providing what was
absent, the exoticism of entering a world through eyes
that have special access are ways in which new worlds
have been ‘discovered’. Rarely has it raised the
question of the invisibility of worlds that leads to such
discovery. Empowerment can only be explored where
equality has previously been denied. How then does
one approach exploitation? How does one undo wrongs
when one is on the ‘wrong’ side of the fence?
From the other sideof the fence
7
There are no easy answers. No secret ingredient, that
makes one immune to the hazards of benevolent
intervention. Therein lies the magic of this medium.
Stripped of the need for technical prowess that makes
privileged knowledge a domain of the privileged.
Unburdened by the material limitations of films and their
cost. Liberated from the aesthetic leanings of
conventional education, some children have a freedom
that their ‘well brought up’ counterparts have long lost.
It’s a contagious spontaneity. A boy and his shadow,
hovering in suspended animation, take the ‘decisive
moment’ to new heights. Clutching her prized
possessions, a little girl walks through a rubbish tip, her
hesitant smile lighting up the drabness of her surrounds.
A lonesome worker, drooped in toil, rests his weary body.
These are not images made because of some learned
aesthetics, or some schooling of shape or form. No
complex law of composition can compete with the
contours shaped by a caring eye. No sermon on tempo
and pace can replace the irrepressible energy of
unabashed youthfulness. No theory on the use of
negative space can contain the sheer audacity of an
unbounded horizon. Did the ‘teachers’ not have a role?
Of course they did. They stepped out of the way when
they knew the time was right. They coaxed and cajoled
when a little prod was needed. They said ‘yes, yes, yes’,
when they saw hesitation in expectant eyes. They waxed
the wings of flight. They let imagination soar.
These gentle, harsh, chaotic and elegant images remind
us, not of some untapped potential that our intervention
has released, but the humanity in abundance that our
unabated surge for growth, leaves behind.
Dr. Shahidul Alam
Principal
Pathshala – South Asian Media Academy
Bangladesh
9
Cities in Bangladesh are overcrowded with dense slums,squatter settlements and pavement dwellings, eachhome to thousands of children. Urban migrationcontinues to swell the numbers of people living inurban slums and on the streets.
Children living or working on the streets areparticularly vulnerable to abuse and exploitation. Thesechildren grow up on the margins of society withoutappropriate shelter, protection, education, health care,food and security.
Many children are forced to work - often in hazardousand low-waged jobs - to support themselves and theirfamilies. It is estimated that more than 7 millionchildren in Bangladesh are engaged in some form ofchild labour. Working children are frequently deniedtheir rights to education, leisure and play.
In close cooperation with the Ministry of SocialWelfare, Department of Social Services, UNICEF isworking to protect and assist children living or workingon the street through the Protection of Children atRisk (PCAR) Project.
As part of this project, social workers reach out tochildren living on the street and facilitate access tovarious forms of schooling along with other services,including drop-in-centres which provide shelter, legalaid, various psychosocial services and support forfamily reintegration. Children can also participate in
life skills training, recreational and educationalactivities that promote social interaction and allowtraumatised children to relax and separate themselvesfrom the pressures of street life. Emergency nightshelters for immediate care and protection of childrenliving in the streets are also operating in three cities.
More than 8,000 Bangladeshi children have so farbenefitted from PCAR interventions in 68 open airschools, 18 drop-in centres and three emergencynight shelters.
In addition, UNICEF works closely with the Governmentto provide working children with access to educationand other services; strengthen legal protectionmechanisms for children; build the capacity ofGovernment staff and increase social protectionmeasures to reduce the need for children to work tosupport their families.
In June 2010, a national communication campaign waslaunched in order to change the attitude of those whoconsider child labour to be ‘normal’.’ This campaign is,jointly supported by, UNICEF, the Ministry of Womenand Children Affairs, Government of Bangladesh andthe International Labour Organization (ILO).
The Telenor Group has been generously funding thecampaign against child labour through UNICEF NationalCommittee in Norway.
Preventing child labour and protectingchildren at risk in Bangladesh
11
IntroductionBattered, starved and physically and mentally abused, manyBangladeshi children run away from homes where life hadbecome unbearable; they exchange the horror of a tough homelife for the hardships of living in a concrete jungle. Somechildren are forced to spend their days on the streets, workinglong hours to earn a few taka and help their families survive.Others work in a different environment - in small factories,buses, or at the ports… many of these jobs put their physicaland mental development at risk. Out on the streets, childrensurvive by drawing on their instincts, strength, and courage.Some are lucky enough to be reached by organizations that givethem opportunities for a better life, but many continue to facea life of destitution.
Living in the Urban Jungle is a view of the world through theeyes of twenty such adolescent girls and boys aged 12 to 16.UNICEF Bangladesh initiated the project in partnership with DrikPicture Library who trained the children in photographytechniques and worked closely with them to select the photosthat feature in the final collection. Photography offered eachtrainee a unique journey into the unknown.
Participants were selected and supported by two NGOs -Aparajeyo-Bangladesh and Padakhep Manabik Unnayan Kendra –
which take care of them on an ongoing basis as part of theUNICEF-supported ‘Protection of Children at Risk’ (PCAR)project. The photo project took place in Dhaka and Barisal,where the children live, in order to reflect two very differenturban environments.
The trainers, Tanzim Wahab and Habibul Haque, began the five-day training session with an ice-breaker exercise where theparticipants sketched portraits of each other (page 78-79). Theyoung people giggled over their distorted caricatures, and afriendly environment was established. Then the trainers gotdown to the business of introducing the children to variousphotography techniques. Aperture, shutter speed and lens, andother complex photography jargon was simplified and taughtusing simple metaphors involving human eyes, tiny holes,doors, etc.
The training focused on three important components ofphotography - camera operation, composition and content –after which the adolescents were sent on a trial photo shoot.Initially, many of the boys were unimpressed by the BotanicalGarden where their trainer had taken them for their first tasteof photography, but one of the girls - who liked the place andthe beauty of the plants - told them: ‘Prepare your heart firstthen come back again.’
Living in the Urban Jungle:a Photographic Project withWorking Children of Bangladesh
Taking pictures in a rainy day. Barisal.
Photo: Habibul Haque/Drik/Unicef
12
Later on, together with their tutors, they reviewed their photostaken, looking at light, form, angle, basic aesthetics, etc. Theydiscussed how to communicate with their subjects, how to getaccess, and the concept of photographic ethics.
Photo essays by children from different parts of the world wereshared as examples of visual storytelling. Seeing images ofRussian children in snow-capped scenes for the first time in herlife, Pinky thought it was a fairyland!
The trainers encouraged each of the children to share theirpersonal stories with the group. Every participant’s taledescribed the many trials and tribulations they had undergonebut, more importantly, the stories revealed the children’sincredible courage and resilience. The children and trainersagreed on topics for their shooting assignments, and thechildren selected locations they felt were appropriate. Duringdiscussions, they also explored issues that were important tothem, such as child labour, health and hygiene, food, education,child marriage, drugs, etc.
Outdoor shooting in Mirpur, Dhaka. Photo: Saikat Mojumder/Drik/Unicef
13
Fifteen year-old Sima decided that she wanted to takephotographs in Mirpur Mazaar as that’s the place she spent herchildhood (Page 40). When telling the story of her friend whoworries about the future of her newborn baby in the Mazaar,Sima wondered if the baby will one day read her story.
Meanwhile, Shahin settled on Karwanbazar as the place that hasspecial significance in his life. Shahin was once a domesticservant in Dhaka and was unfairly accused of stealing money.Forced to run away, he spent two months living on the streetsof Karwanbazar and had to resort to begging before he foundshelter at a UNICEF-supported drop-in centre run by PadakhepManabik Unnayan Kendra.
Moments of CreativityAfter the workshop, each trainee was given a digital camerawith which to take photographs for a week, and was advised totake a minimum of 200 pictures. Now free to release theirshutters at will, the children (who had never even held acamera before this project) took to the task like ducks to water.After a week, they came back with a total of 27,671 pictures.The images they produced are as strong as their spirits.Comfortable in their chosen locations, they roamed familiar
territory - with real journalistic skills - to capture unique,symbolic and often intimate moments.
Access was often a major issue. Children living on the streetsare not always welcome… and even less when they hold acamera.
Ticket checkers at the railway station wanted to arrest them…On one occasion, Roni and Shahin noticed a policeman beatinga man caught pick pocketing. The scene was a familiar one forthem and the young photographers moved in to capture themoment. Shahin had switched off his flash, but Roni forgot andwhen the flash popped the policeman turned his head andbegan shouting at Roni (page 15). Hearts pounding, the twoboys ran as fast as they could. In the following melee, the thiefescaped but the boys were caught after a 20-minute chase. Thepolice freed the boys only after the NGO coordinator intervened.
Showing the conditions in which children are working was verymuch at the heart of many participants. But entering workshopsor factories with a camera was another story. Some businessowners even wanted to snatch their cameras… Many peoplefear a camera, realizing its potential for recording evidence and
Practical session on camera operation in a kash field. Dhaka.Photo: Habibul Haque/Drik/Unicef
Editing Session in Barisal. Photo: Mahabub Alam Khan/Drik/Unicef
14
exposing hidden issues. In Barisal, a factory owner refused toallow any trainee into his factory. He feared that the traineeswould pose as child labourers and take photos to bring chargesagainst him.
During the same week, one of the young participantsphotographed some intimate moments with her mother. Someyears ago, her mother left her in the Mazaar and started livingwith her stepfather in a slum. The young girl does not spendtime with her often but the camera brought her back to themother’s shanty.
The Spontaneity in the PhotographsInterestingly, in Dhaka, most of the trainees chose to takepictures of the streets. After all, the streets are their home;familiar and full of memories, whether good or bad.
But their lenses were not only pointed at the concrete. Withfresh eyes, they looked at their familiar streets and saw weavingclouds in the sky, magical reflections in the water and evennoticed unexpected matching colours (page 39, 58, 71).
In Barisal, the young people’s eyes focused on the beauty oftheir environment. The green colour dominated the frame. Even
a heavy rainfall which caused flooding in the city was nodeterrent. Instead, it was a new opportunity to photograph therain. A shutter was released for a fraction of a second, catchingdrops of water suspended like sparkling crystals (Page: 38).
After a week, the participants met again with their trainers inorder to edit and select images. During this session, theylearned the basic concepts behind improving a photo. Thetrainees provided fearless and frank arguments for keeping theirpreferred images, and it was a learning experience for bothparties – the trainers listening to what the children had to sayand discovering what social prejudice meant.
The adolescents were also asked to write captions for theirphotos. In their writing, they questioned the gap between the‘haves’ and ‘have nots’ and asked “why not a little of this forus?” Kader peeped into the windows of toyshops and tookseveral images of toys that he couldn’t afford to own (page 32).He wanted his images to be in the final edit because hebelieved that they expressed the feelings of manydisadvantaged children.
Dulal is trying different angles, Barisal. Photo: Habibul Haque/Drik/Unicef Laboni is capturing lives in Mirpur Mazaar. Photo: Saikat Mojumder/Drik/Unicef
15
...Roni clicked on hisshutter flash cameout, and policeturned his head andreacted with anuproar. Heart waspounding fast andthey started runningaway. Police ran afterthem for twentyminutes and finallymanaged to grasp.
16
Children also questioned the right to education: why so manychildren have to work and cannot afford to go to school? Why ayoung girl has got a baby ‘at an age when she should be livingwith and cared for by her parents’? (page 21). Farid wrote abouta child of his age working in a tannery: ‘There is nobody tostop him working there. He is alone and this is the only way heknows how to live’ (page 46), while Chandni commented on apicture of a girl working in a tobacco factory: ‘If we can ensurethat girls like Priti get an education, our country will have abetter future’ (page 57).
The images selected by the children were reviewed by a panel ofexpert curators. A total of 59 images were identified for thecollection which will be shown in the two cities - Dhaka and
Barisal. The aim of the exhibition is to create a platform fordialogue. The images will subsequently be mounted on rickshawvans and boats to tour rural areas and reach a wider audience.
Living in the Urban Jungle has given 20 disadvantaged childrenthe opportunity to show us a glimpse of their lives, and theirinner worlds. The photos reflect the courageous spirit and thematurity of the children who took part in this project. They canalso be interpreted as a heartfelt appeal for child rights. Theirwish is that many others they know are in similar circumstancescan also be helped to make Bangladesh a better country withequal opportunities for all children.
Lucky is happy to take the first photograph. Dhaka. Photo: Habibul Haque/Drik/Unicef
17
S E L E C T E DP H O T O S
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Oh! My dear parrotspeak up,say my name,andI will let you free.Hatkhola, Barisal, Bangladesh, 2010
Photo: Shawlin Akhter, 12
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19
Rainy day, idle morning.Kawshighat, Barisal, Bangladesh, 2010
Photo: Manoj Baroi, 13
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20
I used to see many colourful houses during mychildhood. That colour is lost in brick and mortar townhouses. This brightly painted home at Kumarkhali inBarisal reminds me of my childhood.Kumarkhali, Barisal, Bangladesh, 2010
Photo: Chandni Akhter, 14
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21
My friend, Sharmin, begs in Shah Ali Mazaar. Childmarriages are illegal in this country but she is thevictim of a child marriage. She is on the streets withher newborn baby at an age when she should be livingwith and cared for by her parents. The baby has notseen its father’s face as he abandoned Sharmin for notbringing a dowry. Sharmin does not know what thefuture holds for her baby. Mazaar is now her residenceand it is an unhealthy place to live.Mirpur Mazaar, Dhaka, Bangladesh, 2010
Photo: Sima Akter, 15
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22
Many students at the open air school have no parents.If we could have these schools in every area then allstreet children could be educated. Then rich peoplewould not be able to call them illiterate and would nothate them. Education will give us equal rights.Mohammadpur PCAR/PMUK Open-air School, Dhaka,Bangladesh, 2010
Photo: Pinki Akter, 12
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23
Children are learning in a friendly environment at anopen learning centre.Palashpur open air school, Barisal, Bangladesh, 2010
Photo: Salma Akhter, 16
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24
Sharmin 9, is sewing her own clothes at the drop-incentre. Her face is gloomy despite being safe and soundhere at the centre.Girls Drop-in Centre, Barisal, Bangladesh, 2010
Photo: Shathi Akhter, 14
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25
Amena, a member of our drop-in centre, loves to wearcosmetics. But a safe home and an education couldmake her life more beautiful than cosmetics.Girls’ Drop-in Center, Barisal, Bangladesh, 2010
Photo: Mawshumi Akhter, 13
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Poverty and violence at home drives many children totake shelter at drop-in centres. As the children learn lifeskills, play, dance and study, they start to forget theirpast. Two girls are dancing at the drop-in centre.Mohammadpur, Dhaka, Bangladesh, 2010
Photo: Kazi Labony, 13
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26
When I walk around the streets, I see different toys.Some toys look like real people. When I see them I feellike I am seeing myself. I took this image and thoughtthis is me.Mirpur, Dhaka, Bangladesh, 2010
Photo: Rafida Akter, 15
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28
The eternal bond of friendship.Barisal stadium, Barisal, Bangladesh, 2010
Photo: Manoj Baroi, 14
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29
The beaming faces of children make you forget thehardships of poverty.Bandar Road, Barisal, Bangladesh, 2010
Photo: Roni Hossain, 14
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30
In my childish dream I want tofly high.
Char Kauwa, Barisal,Bangladesh, 2010
Photo: Md. Mohasin Hossain, 12
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31
Moyna is the goal keeper of our football team at thedrop-in centre. We are given sports kits and facilities toplay games here.Barisal stadium, Bangladesh, 2010
Photo: Roni Hossain, 14
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32
All of us like toys very much. They make us smile whenwe have them and cry when we can’t have them. Richchildren can buy expensive toys but street childrencannot afford them. Some children have never had a toyto play with. We do not have money so we play withanything small that we can make into a toy.Panthapath, Dhaka, Bangladesh, 2010
Photo: Md. Kader Hossain, 12
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33
This drawing of a king fondling a deer took my breathaway. It was done by a child who used to live on thestreet. My friend had kept the drawing beside a window.We learn art, dancing and music at the drop-in centre.Mohammadpur, Dhaka, Bangladesh, 2010
Photo: Kazi Labony, 13
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34
The joy of life goes parallel.KDC Port, Barisal, Bangladesh, 2010
Photo: Shawlin Akhter, 12
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35
Speed in search of life.KDC port, Barisal, Bangladesh, 2010
Photo: Md. Mohasin Hossain, 12
\LmPjr ßUÅJP\ VKfÇßTKcKx mªr, mKrvJu, mJÄuJPhv, 2010
ZKm: ßoJ: oyJKxj ßyJPxj, 12
36
Thousands of people visit the National Martyrs’Memorial, which commemorates the soldiers and thefreedom fighters who died in the Liberation War. Thewide variety of beautiful flowers keeps the memory ofthe place in the minds of the visitors.Savar, Dhaka, Bangladesh, 2010
Photo: Kazi Labony, 13
yJ\JPrJ oJjMw IJoJPhr vKyh oMKÜPpJ≠JPhr ˛rPe KjKotf\JfL~ ˛OKfPxRi ßhUPf IJPxÇ KmKY© xm láPu ZJS~J
\J~VJaJ hvtTPhr oPj ßVÅPg pJ~ÇxJnJr, dJTJ, mJÄuJPhv, 2010
ZKm: TJ\L uJmjL, 13
37
Many different games are played at Barisal Stadium. Theback of the stadium is transformed into a magical placeby the beautiful play of light and shadow at dusk.Barisal stadium, Bangladesh, 2010
Photo: Roni Hossain, 14
mKrvJu ߈Kc~JPo jJjJ irPjr ßUuJ y~Ç ßˆKc~JPormJAPr VqJuJKrr jLPYr IÄvaJ ßVJiNKur IJPuJ-ZJ~J~ FT
\JhMo~ ˙JPj kKref yP~PZÇ߈Kc~Jo, mKrvJu, mJÄuJPhv, 2010
ZKm: rKj ßyJPxj, 14
38
It is raining. Boats are cruising in the rain.Dopdopia Ferighat, Barisal, Bangladesh, 2010
Photo: Rony Hossain, 14
mOKÓ kPz ^oJ^oÇ ßjRTJ YPu IKmrJoÇhkhKk~J ßlKrWJa, mKrvJu, mJÄuJPhv 2010
ZKm: rKj ßyJPxj, 14
39
I am amazed to see colourfulreflections in the water. On a
ferry ride in Sadarghat, Ifound a mysterious blendingof colours in the reflections
in the water.Sadarghat, Dhaka,Bangladesh, 2010
Photo: Rafida Akter, 15
kJKjPf rKXj ZJ~J ßhUPf o\JuJPVÇ xhrWJPa jhL kJr yS~Jr
xo~ rPXr FA IØáf ZJ~Jr ZKmKafáPuKZuJoÇ
ZKm: rJKlhJ IJÜJr, 15
40
Mazaar is a sacred place where I went to pray that mybrother, missing from home, would be brought back tome. Many people, rich and poor from different placescome here to pray in Mazaar. They seek help from Allahto ease their troubles. Some prayers are answered, someare not. I wish Allah would listen to my prayer.Mirpur Mazaar, Dhaka, Bangladesh, 2010
Photo: Sima Akter, 15
oJ\Jr kKm© \J~VJÇ SUJPj KVP~KZuJo ßhJ~J TrPf pJPf IJoJryJKrP~ pJS~J nJA IJoJr TJPZ KlPr IJPxÇ VKrm-ijL mÉ oJjMw
oJ\JPr IJPx ßhJ~J TrPfÇ hMÎU-TÓ ßgPT oMKÜ ßkPf IJuäJrTJPZ xJyJpq YJ~Ç ßTC xJyJpq kJ~, ßTC y~PfJ kJ~ jJÇ IJuäJ
ßpj IJoJr k´JgtjJ ßvJPjÇKorkMr oJ\Jr, dJTJ, mJÄuJPhv, 2010
ZKm: xLoJ IJÜJr, 15
41
In Sadarghat, I saw a boatman praying in his boat. Ifelt bad that he could not go to a mosque to offer hisprayers because of his long day at work.Sadarghat, Dhaka, Bangladesh, 2010
Photo: Md. Roni, 14
xhrWJPa ßhUuJo FT oJK^ jJoJ\ kzPZÇ ßhPU UJrJk uJVPuJ ßpTJP\r mq˜fJr \jq jJoJ\ kzPf ßx oxK\Ph ßpPf kJrPZ jJÇ
xhrWJa, dJTJ, mJÄuJPhv, 2010
ZKm: ßoJ: rKj, 14
42
This mother lives in a slum and has no bathroom tobathe her baby. She has only a dirty pond.Hazaribagh Tannery, Dhaka, Bangladesh, 2010
Photo: Md. Foysal, 13
FA oJ FTaJ mK˜Pf gJPTÇ ßxUJPj ßTJPjJ ˚JjWr ßjA mPumJóYJaJPT ßjJÄrJ kMTáPrA ˚Jj TrJPóZÇ
yJ\JrLmJV aqJjJrL, dJTJ, mJÄuJPhv, 2010
ZKm: ßoJ: l~xJu, 13
43
Water is life, but water is death too. These children areswimming in the Bosila River. This river was once cleanbut the slum dwellers have polluted it, making ithazardous by dumping garbage.Mohammadpur Beribadh, Dhaka, Bangladesh, 2010
Photo: Shahin Alam, 15
kJKjr IJPrT jJo \LmjÇ KT∂á kJKj oOfáqrS TJreÇ FA mJóYJèPuJmKxuJ jhLPf xÅJfJr TJaPZÇ jhLaJ FT xo~ kKróZjú KZPuJÇ KT∂á
mK˜r oJjMPwr TJrPe hNKwf yP~ ßVPZÇ IJm\tjJ ßlPu ßlPuKmwJÜ TPr fáPuPZÇ
ßoJyJÿhkMr ßmKzmÅJi, dJTJ, mJÄuJPhv, 2010
ZKm: vJKyj IJuo, 15
44
I spent my childhood at Kamalapur Railway Station. It isan unhealthy environment and children living there workreally hard to help their parents. I do not have to livethere anymore, but seeing these children reminds me ofmy difficult past.Tejgaon Rail Station, Dhaka, Bangladesh, 2010
Photo: Md. Farid, 13
IJoJr ßZJaTJu ßTPaPZ TouJkMr ßruSP~ ߈vPjÇ UMm UJrJkkKrPmvÇ ßp KvÊrJ SUJPj gJPT SrJ SPhr kKrmJrPT xJyJpq TrPf
nLwe TÓ TPrÇ IJKo FUj IJr SUJPj gJKT jJÇ KT∂á SUJjTJrmJóYJPhr ßhPU KjP\r TKbj IfLPfr TgJ oPj kPz pJ~Ç
ßf\VÅJS ßru ߈vj, dJTJ, mJÄuJPhv, 2010
ZKm: ßoJ: lKrh, 13
45
Seven year old Ayesha has no idea if where she livesis a good or a bad environment for her. She is in aplace where leather is tanned. Fish and chicken mealis a byproduct of this process but the tanningpollutes the environment.Hazaribag Tannery, Dhaka, Bangladesh. 2010
Photo: Shahin Alam, 15
xJf mZr m~xL IJP~vJ \JPjA jJ S ßpUJPj gJPT ßx \J~VJaJnJPuJ KT oªÇ S ßpUJPj gJPT ßxUJPj YJozJ ÊPTJPjJ y~Ç ßmÅPY
pJS~J YJozJ ßgPT oJZ IJr oMrKVr UJmJr ‰fKr TrJ y~Ç KT∂áYJozJ ÊPTJPjJr TJrPe kKrPmv jÓ y~Ç
yJ\JKrmJV aqJjJKr, dJTJ, mJÄuJPhv, 2010
ZKm: vJKyj IJuo, 15
46
Look at this child. He is working in a hazardous placebut there is nobody to stop him working there. He isalone and this is the only way he knows how to live.Hazaribagh Tannery, Dhaka, Bangladesh, 2010
Photo: Md. Farid, 13
mJóYJèPuJPT ßhUMj, TL ^MÅKT KjP~ TJ\ TrPZ! KT∂á ßTC ßjA ßpSPT SUJj ßgPT xKrP~ ßjPmÇ FA hMKj~J~ S FTJÇ mÅJYJr IJr
ßTJPjJ rJ˜JS ßx \JPj jJÇyJ\JKrmJV aqJjJKr, dJTJ, mJÄuJPhv, 2010
ZKm: ßoJ: lKrh, 13
47
Our fellow trainee photographer Manoj Baroi is a bitrestless. I captured his spirit in this photograph on thesecond day of our photography training.Char Kauwa, Barisal, Bangladesh, 2010
Photo: Chandni Akhter, 14
IJoJPhr IJPuJTKY© k´KvãPer xykJKb oPjJ\ mJQzmqJkJraJ KjP~ hJr∆e CP•K\fÇ ßTJPxtr 2~ KhPj fJr ZKm
ßfJuJr CP•\jJ IJoJr TqJPorJ~ iPr rJKUÇYr TJC~J, mKrvJu, mJÄuJPhv, 2010
ZKm: YÅJhjL IJÜJr, 14
48
Because of a lack of shelter, these people are resting ona wall. After a long day’s work, one needs a bed and agood environment to rest. These sleeping workers haveno other place to rest.Mirpur, Dhaka, Bangladesh, 2010
Photo: Rafida Akter, 15
oJjMwèPuJ ßh~JPu ÊP~ Kmv´Jo KjPóZÇ xJrJKhPjr aJjJ TJP\r krKmv´JPor \jq FT\j oJjMPwr YJA FTaJ KmZJjJ IJr FTaá nJPuJkKrPmvÇ FA ßp ßuJTèPuJ WMPoJPóZ, SPhr Kmv´JPor \jq ßTJPjJ
IJr ßTJPjJ \J~VJ ßjAÇKorkMr, dJTJ, mJÄuJPhv, 2010
ZKm: rJKlhJ IJÜJr, 15
49
I used to sleep here at the Barisal river port. NowI live at a drop-in centre. This child also has theright to live a better life.Barisal river port, Barisal, Bangladesh, 2010
Photo: Dulal Hossain, 12
FTKhj IJKoS FA uûWJPa WMoJfJoÇ FUj IJKo csk-Aj ßx≤JPrgJKTÇ FA KvÊKarS nJPuJ \Lmj CkPnJPVr IKiTJr rP~PZÇ
mKrvJu uûWJa, mKrvJu, mJÄuJPhv, 2010
ZKm: hMuJu ßyJPxj, 12
50
Mirpur Meat Market is a niceplace but the butchers make itdirty. But they are very skilled
and carve the meat well for thebuyers. When the different cuts
of meat are well arranged, itlooks good. Their dexterity
minimizes their faults.Mirpur, Dhaka, Bangladesh, 2010
Photo: Kazi Labony, 13
KorkMr oJÄx mJ\Jr \J~VJaJ UMm xMªr\J~VJÇ KT∂á TxJAP~rJ \J~VJaJPT
ßjJÄrJ TPr rJPUÇ fPm SrJ ßmv hãÇoJÄxaJPT FojnJPm TJPa pJPf
ßâfJrJ IJTíÓ y~Ç TJaJ oJÄx xJK\P~rJUPu ßhUPf nJPuJ uJPVÇ
KorkMr, dJTJ, mJÄuJPhv, 2010
ZKm: TJ\L uJmjL, 13
51
Fish from the River Kirtonkhola are famous in Barisal fortheir colour, smell and taste. Now is the best time tocatch the fish. I wish the smiling face of the fishermancould last forever.Barisal Kirtonkhola River, Bangladesh, 2010
Photo: Chandni Akhter, 14
mKrvJPur TL•tjPUJuJ jhLr AKuv rÄ, Vº FmÄ ˝JPhr \jqKmUqJfÇ FUjA AKuv irJr ßoRxMoÇ IJKo YJA ß\Pur oMPU FA
yJKx xJrJ \Lmj gJTÇTL•tjPUJuJ jhL, mKrvJu, mJÄuJPhv, 2010
ZKm: YÅJhjL IJÜJr, 14
Living colour and energy of life.Char Kauwa, Barisal, Bangladesh, 2010
Photo: Manoj Baroi, 14
rKXj VKf... \Lmj S \LKmTJrÇYr TJC~J, mKrvJu, mJÄuJPhv, 2010
ZKm: oPjJ\ mJzA, 14
52
Colors of life.Dopdopia Ferryghat, Barisal, Bangladesh, 2010
Photo: Roni Hossain, 14
\LmPjr KmKY© rXÇhkhKk~J ßlKrWJa, mKrvJu, mJÄuJPhv 2010
ZKm: rKj ßyJPxj, 14
53
54
This factory in Barisal producesenergy-saving light bulbs. It alsoprovides women with a congenial
working environment and a medicalfacility.
Hatkhola, Barisal, Bangladesh, 2010
Photo: Manoj Baroi, 14
FA TJrUJjJ KmhMq& xJv´~L mJKf ‰fKr TPrÇFUJPj oKyuJrJ TJP\r CkPpJVL kKrPmv IJr
KYKT&xJ ßxmJ kJjÇyJaPUJuJ, mKrvJu, mJÄuJPhv, 2010
ZKm: oPjJ\ mJzA, 14
55
Chandni 14, a member of our drop-in centre, works at abeauty parlor as a beautician. She has put her pastbehind her and is moving forward.Barisal, Bangladesh, 2010
Photo: Shawlin Akhter, 12
ßYR¨ mZPrr YÅJhKj IJoJPhr csk-Aj ßx≤JPrr FT\j xhxqÇFTKa KmCKa kJutJPr KmCKaKv~Jj KyPxPm TJ\ TPrÇ ßx fJr IfLf
\LmPjr TÓ náPu xJoPj FKVP~ YPuPZÇmKrvJu, mJÄuJPhv, 2010
ZKm: vJSKuj IJÜJr, 12
56
Poverty forces children to find differentways of earning money. This girl sells
water and earns a small amount of moneyto help with the family expenses. Many
children in our society are able to study,play and be happy. I wish that the rich
would take action to improve the lives ofstreet children.
Savar Park, Dhaka, Bangladesh, 2010
Photo: Rafida Akter, 15
VKrKm mJóYJPhrPT k~xJ CkJ\tPjr \jqjJjJj rTo kPg ßbPu ßh~Ç FA ßoP~aJ
kJKj KmKâ TPr I· KTZá k~xJ TJoJ~Ç ßxAaJTJ KhP~ Sr kKrmJPrr p&xJoJjq k´P~J\j
ßoPaÇ IJoJPhr xoJP\r IPjT mJóYJ kzPf,ßUuPf IJr IJjPª \Lmj TJaJPf kJPrÇ
IJKo YJA ijLrJ kgKvÊPhr \LmjoJj CjúfTrJr CPhqJV KjTÇ
xJnJr kJTt, dJTJ, mJÄuJPhv, 2010
ZKm: rJKlhJ IJÜJr, 15
57
Education is not a privilege, it is our right. But Priti 11,works at a tobacco (bidi) factory and is deprived of thatright. If we can ensure that girls like Priti get aneducation, our country will have a better future.Barisal, Bangladesh, 2010
Photo: Chandni Akhter, 14
KvãJ xMPpJV j~, IKiTJrÇ k´LKfr m~x 11Ç S FTKa KmKzTJrUJjJ~ TJ\ TrPZÇ S FA IKiTJr ßgPT mKûfÇ k´LKfr oPfJ
ßoP~Phr kzJPvJjJ IJorJ pKh KjKÁf TrPf kJKr IJoJPhr ßhPvrnKmwqf IJPrJ nJPuJ yPmÇmKrvJu, mJÄuJPhv, 2010
ZKm: YÅJhjL IJÜJr, 14
58
Girls of our age go to these beauty parlours and someget themselves photographed afterwards. I see a red buspass the parlour, and realise that the signboard on theparlour is red, the bus is red and so is my dress. I amnot in the photo but red is - isn’t that fun?Mirpur, Dhaka, Bangladesh, 2010
Photo: Sima Akter, 15
IJoJPhr m~xL ßoP~rJ KmCKa kJutJPr pJ~Ç ßTC ßTC ßxUJj ßgPTZKmS fáuPf pJ~Ç FTaJ uJu rPXr mJxPT kJutJPrr xJoPj KhP~
ßpPf ßhUuJoÇ fJrkrA ßU~Ju yPuJ kJutJPrr xJAjPmJctaJS uJurPXrÇ IJmJr IJoJr \JoJaJS uJu! IJKo FA ZKmaJPf ßjA, uJuaJ
IJPZÇ TL o\J, fJA jJ?KorkMr, dJTJ, mJÄuJPhv, 2010
ZKm: xLoJ IJÜJr, 15
59
Amusement parks are fun to visit at night. All thecolorful lights make the place look really beautiful. Ithink photography is important in this world. Withoutphotography, children from the street would not be ableto talk about their rights.Shishumela, Shamoly, Dhaka, Bangladesh, 2010
Photo: Pinki Akter, 12
rJPfr ßmuJ KvÊ kJPTt ßmzJPf nJKr o\JÇ rKXj xm mJKfPf\J~VJaJ UMm xMªr ßhUJ~Ç ZKm ßfJuJ FA hMKj~Jr \jq UMm \r∆Kr
mqJkJrÇ ZKm jJ fáuPu kPgr mJóYJrJ KjP\Phr IKiTJPrr TgJmuPfA kJrPfJ jJÇ
KvÊPouJ, vqJoKu, dJTJ, mJÄuJPhv, 2010
ZKm: KkÄKT IJÜJr, 12
60
The little boy, Nayan, and his fatherare snake charmers. It is a risky way
to earn money but poverty hasmade Nayan brave. Now he can
handle snakes comfortably.Savar, Dhaka, Bangladesh. 2010
Photo: Rafida Akter, 15
ßZJ¢ ßZPu j~jÇ mJmJ xJkMPzÇ ^ÅMKT KjP~aJTJ ßrJ\VJr TrPf y~ fÅJPTÇ KT∂á
VKrKm j~jPT xJyxL mJKjP~PZÇ FUj SIJrJoPx xJk ßUuJ ßhUJPf kJPrÇ
xJnJr, dJTJ, mJÄuJPhv, 2010
ZKm: rJKlhJ IJÜJr, 15
61
I love to see monkeys dance. They live in trees in theforests but are brought to the villages to entertainpeople. This is the way some people earn a living tosustain their families.Karwanbazar, Dhaka, Bangladesh, 2010
Photo: Md. Roni, 14
mÅJhrjJY ßhUPf UMm nJPuJ uJPV IJoJrÇ \ñPu VJPZ VJPZ gJPTFrJÇ oJjMwPT IJjª KhPf FPhrPT iPr IJjJ y~Ç xÄxJr
YJuJPjJr \jq FnJPm jJjJ CkJ~ ßmr TPr oJjMwÇTJrS~JjmJ\Jr, dJTJ, mJÄuJPhv, 2010
ZKm: ßoJ: rKj, 14
62
This cat lives in the house next to our drop-in centreand does not usually come to our place. The cat onlycomes to eat food when we have lunch at noon. As Iwas about to go outside after the meal, I suddenlyfound the cat sitting in a narrow lane. I liked the scenevery much, especially the eyes of the cat.Mohakhali, Dhaka, Bangladesh, 2010
Photo: Md. Foysal, 13
IJoJPhr csk-Aj ßx≤JPrr kJPvr mJKzPf ßmzJuaJ gJPTÇIJoJPhr FUJPj UMm FTaJ IJPx jJÇ ÊiM pUj hMkMPr IJoJPhr
UJmJPrr xo~ y~ fUj IJPxÇ UJS~J ßvPw pUj ßmPrJKóZ, ßhKU,ßmzJuaJ xr∆ VKuaJ~ mPx IJPZÇ hJr∆e uJVPuJ hOvqaJ, KmPvw
TPr Sr ßYJUP\JzJÇoyJUJKu, dJTJ, mJÄuJPhv, 2010
ZKm: ßoJ: l~xJu, 13
63
Our national animal is the ferocious tiger, but we needgo to the zoo to see them. These children living on thestreets do not have parents, so they have no money tovisit the zoo. I sell newspapers here. These children andI play with this clay tiger and dream about the realferocious ones and our future.Sonargaon Road, Dhaka, Bangladesh, 2010
Photo: Md. Roni, 14
IJoJPhr \JfL~ kÊ yPóZ KyÄxs mJWÇ mJW ßhUPf yPu KYKz~JUJjJ~ßpPf y~Ç FA KvÊrJ rJ˜J~ gJPT, mJmJ-oJ ßjAÇ SPhr aJTJk~xJS ßjAÇ fJA KYKz~JUJjJ~ ßpPf kJPr jJÇ IJKo FUJPjA
UmPrr TJV\ ßmKYÇ FA mJóYJrJ IJr IJKo FA oJKar mJPWr xPñßUKuÇ IJKo ˝Pkú FTaJ xKfqTJPrr KyÄxs mJWPT ßhKUÇ IJoJPhr
nKmwqfPTSÇßxJjJrVÅJS ßrJc, dJTJ, mJÄuJPhv, 2010
ZKm: ßoJ: rKj, 14
64
In this open air school, after studies, the teacher getsthe children to sit in circles and play. Within this circle,the children draw and sing. Watching them dancinghappily made me feel good.Mirpur PCAR/PMUK Open-air School, Dhaka, Bangladesh,2010
Photo: Sima Akter, 15
FA SPkj F~Jr ÛáPu TîJx ßvw yPu kPr KvãPTrJ mJóYJPhrßVJu TPr mxJjÇ fJrkr ßUuJ Êr∆ TPrjÇ mOP•r ßnfPr
mJóYJrJ ZKm IÅJPT, VJj VJ~Ç SPhr IJjª, SPhr VJj IJoJPTSIJjKªf TPrÇ
KorkMr KkKxFIJr/KkFoACPT SPkj F~Jr Ûáu, dJTJ,mJÄuJPhv, 2010
ZKm: xLoJ IJÜJr, 15
65
A 12 or 13 year old boy, the son of a freedom fighter, iscaught while stealing a mobile phone and his captorsbeat him and cut his hair. The boy, a drug addict, stealswallets and mobile phones and resells those to get moneyfor drugs. He managed to escape from his captors, butwhat is his future as a drug addict and a thief?Hazaribagh, Dhaka, Bangladesh, 2010
Photo: Sima Akter, 15
FTaJ 12-13 mZPrr ßZPu, oMKÜPpJ≠Jr x∂Jj, ßoJmJAu ßlJjYáKr TrPf KVP~ irJ kPz ßVPZÇ ßuJT\j SPT KkKaP~ oJgJr Yáu
ßTPa KhP~PZÇ ßZPuaJ oJhTJxÜÇ YáKr TrJ aJTJk~xJ IJrßoJmJAu ßlJj ßmPY pJ kJ~ fJ KhP~ ßjvJ TPrÇ S ßvw kpt∂
SUJj ßgPT kJKuP~ mÅJYPuJ KbTA, KT∂á oJhTJxÜ IJr ßYJrKyPxPm Sr nKmwq& IJxPu TL?
yJ\JKrmJV, dJTJ, mJÄuJPhv, 2010
ZKm: xLoJ IJÜJr, 15
66
As I passed the railway line, Isaw many children running,jumping and climbing on to
the roof of a train. Then Idecided to take a photo and
found this boy climbing downfrom the roof with a bowl onhis head. I do not want anychild to put their life at risk
like this.Kamalapur, Dhaka,Bangladesh, 2010
Photo: Md. Foysal, 13
ßruuJAj kJr yS~Jr xo~ßhUuJo IPjT mJóYJ ßhRPzJPóZ,
uJlJPóZ, ßasPjr ZJPhr SkrCbPZÇ nJmuJo FTaJ ZKm ßfJuJ
pJTÇ ßhKU oJgJ~ FTaJ ßmJuKjP~ ßZPuaJ ßasPjr ZJh ßgPT
ßjPo IJxPZÇ IJKo YJA jJßTJPjJ mJóYJ KjP\r \Lmj Foj
^MÅKTr oMPU ßluMTÇßf\VÅJS, dJTJ, mJÄuJPhv, 2010
ZKm: ßoJ: l~xJu, 13
67
A child returns home with a bag of firewood.He is deprived of education as his primeneed is to earn a living.Barisal, Bangladesh, 2010
Photo: Salma Akhter, 16
FTKa KvÊ \ôJuJKj TJb KjP~ mJKz KlrPZÇ \LKmTJrfJKVPh ßx KvãJr IKiTJr ßgPT mKûfÇ
mKrvJu, mJÄuJPhv, 2010
ZKm: xJuoJ IJÜJr, 16
68
Rana 15, works here. Anyone who works in this factoryto make puffed rice, puts their life at risk.Hatkhola, Barisal, Bangladesh, 2010
Photo: Moushumi Akhter, 13
kPjr mZPrr rJjJ FUJPj TJ\ TPrÇ oMKz TJrUJjJ~pJrJ TJ\ TPr, \LmPjr ^MÅKT KjP~ TJ\ TPrÇ
yJaPUJuJ, mKrvJu, mJÄuJPhv, 2010
ZKm: ßoRxMoL IJÜJr, 13
69
Many of the labourers in our country do not stoptheir work when they get tired. They are allowed torelax only after finishing their work. I took thisimage of a tired worker taking a short break on theway back home from Sadarghat.Sadarghat, Dhaka, Bangladesh, 2010
Photo: Md. Foysal, 13
IJoJPhr ßhPvr IPjT v´KoT TîJ∂ yP~ ßVPuS TJ\ mºTrPf kJPr jJÇ TJ\ ßvw yPu kPrA ßTmu ZáKa ßoPu SPhrÇ
xhrWJa ßgPT mJKz ßlrJr kPg FA TîJ∂ v´KoT pUj Kmv´JoKjKóZPuj fUj fJr ZKm fáKuÇ
xhrWJa, dJTJ, mJÄuJPhv, 2010
ZKm: ßoJ: l~xJu, 13
70
I like to get drenched in the rain. I love to play in therain. After this photography training, I have learned anew way to see the rain. A new window has openedfor me.Dopdopia ferry port, Barisal, Bangladesh, 2010
Photo: Dulal Hossain, 12
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\JjJuJ UMPu ßVPZ IJoJr \jqÇhkhKk~J ßlKrWJa, mKrvJu, mJÄuJPhv, 2010
ZKm: hMuJu ßyJPxj, 12
71
When you see the tower itself, it is nothing much tolook at. But, the reflection of the tower in the river -the lightly floating clouds mirrored in the water - makesthis an unforgettable scene.Mirpur, Dhaka, Bangladesh, 2010
Photo: Kazi Labony, 13
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ZKm: TJ\L uJmjL, 13
72
My smiling friends Pinki and Omrito run aroundexcitedly as the sun sets. We used to play with ourfriends before but now we can capture the moods, theexcitement and the happy days of our lives with ourcameras. I have learned to see things differentlythrough my camera lens.Mohammadpur Beribadh, Dhaka, Bangladesh, 2010
Photo: Lucky Akter, 12
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ßoJyJÿhkMr ßmKzmÅJi, dJTJ, mJÄuJPhv, 2010
ZKm: uJKT IJUfJr, 12
73
Sajal, 11 dreams of becoming the captain of a ship. Inhis makeshift boat he keeps his dream alive.Koshaighat, Barisal, Bangladesh, 2010
Photo: Shawlin Akhter, 12
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TxJAWJa, mKrvJu, mJÄuJPhv, 2010
ZKm: vJSKuj IJÜJr, 12
74
We looked for beautiful things in our lives tophotograph. I love the geese. They are very beautifuland their bodies glisten. I see many colours in theirfeathers. These ones love to run to the water. Whenthey flap their wings, they look like birds that areabout to fly.Mirpur, Dhaka, Bangladesh, 2010
Photo: Lucky Akter, 12
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KorkMr, dJTJ, mJÄuJPhv, 2010
ZKm: uJKT IJUfJr, 12
75
Launch will come soon and we have to get onboard thelaunch. If I am given something to carry, I will haveenough to buy breakfast.Barisal Launch Terminal, Barisal, Bangladesh, 2010
Photo: Md. Mohasin Hossain, 12
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ZKm: ßoJ: oyJKxj ßyJPxj, 12
76
The golden twilight over the Kirtonkhola river looks likea painting in a dream. It refreshes the minds of thefisherman, sailing under the construction bridge.Barisal Kirtonkhola River, Bangladesh, 2010
Photo: Md. Ripon, 12
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ojS IJjPª nPr SPbÇTL•tjPUJuJ jhL, mKrvJu, mJÄuJPhv, 2010
ZKm: ßoJ: Krkj, 12
83
List of Participants
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Catalogue Design: Salah Uddin/Drik Production: Drik ([email protected])