VII Academy

VII Academy provides tuition-free courses in visual journalism to practitioners in the Majority World and underrepresented communities in G20 countries. VII Academy is democratizing the information narrative and giving communities the tools to narrate their own stories in regions where media education is poorly resourced.

In the last four years, VII Academy has trained over 1,200 people from 100 countries in nine languages, with more than half of them identifying as female.

VII Academy training is structured as a pathway from the first point of contact to high-level practice. It is done online or in person at campuses in Arles, France, and Sarajevo, Bosnia Herzegovina. VII Academy has three programs:

• The Program for Narrative and Documentary Photography, with courses at Level 1, Level 2, and Level 3

• VII Mentor Program, which provides a 12-month structured professional environment for emerging new talents in the industry

• The MA in Visual Journalism, in partnership with the Faculty of Political Sciences at the University of Sarajevo, is a two-year course beginning in 2024-25. The MA program will also have a one-year Certificate in Visual Journalism option

In addition, VII Academy partners with like-minded organizations to provide additional, focused training initiatives. VII Academy’s programs are enabled by the generous support of our partners, especially The William, Jeff & Jennifer Gross Family Foundation, PhotoWings , Canon, Creative New Zealand, the Foundation for Systemic Change , Leica, and the Poklon Foundation.

PAGE 3 THEVIIFOUNDATION.ORG/VII-ACADEMY @viifoundation | @theviiacademy | A child stands outside her home near Suralaya coal-fired power plant in Banten, West Java, Indonesia, on September 27, 2023. © Mas Agung Wilis Yudha Baskoro for VII Academy

(a) Level 1 caters to students with basic photography experience who want to become visual journalists. It provides a solid foundation of practical skills, including camera control, fulfilling a brief for commissions, and writing captions. It also introduces good practices in ethics, video, social media, and running a solo business. Level 1 is taught via a 12-week online seminar for ten students at a time, with at least nine Level 1 courses each year.

(b) Level 2 takes the best students and equips them with additional skills, extending the concepts from Level 1 and adding a writing component taught by a writing tutor. Level 2 is taught via a 12-week online seminar for ten students at a time, with two Level 2 courses each year.

(c) Level 3 takes the most accomplished students from Level 2 and brings them free of charge to the foundation’s Alexandra Boulat Campus in Arles for an intensive, interdisciplinary, in-person, month-long program. After their time with us, they go home as accomplished practitioners who are well-versed in contemporary media ethics and journalistic values and can take on complex assignments for leading media, NGOs, and corporations worldwide.

Second, the VII Mentor Program provides a structured professional environment for emerging new talents in the industry, whether trained by VII Academy or not. The program – the first of its kind –was launched by VII Photo Agency in 2008 and is now managed by VII Academy. This hybrid program pairs ten selected visual journalists with experienced VII photographers. It runs online for 11 months, followed by two weeks in-person in Arles during the professional week of the Rencontres d’Arles festival. The VII Mentor Program has nurtured the careers of many visual journalists who have become leading practitioners.

Third, the MA in Visual Journalism, developed in partnership with — and accredited by — the Faculty of Political Sciences at the University of Sarajevo, is a two-year course that will begin in 2024-

PAGE 4 THEVIIFOUNDATION.ORG/VII-ACADEMY @viifoundation | @theviiacademy

| A group of children celebrates Juan Manuel’s first birthday on one of the streets of Santa Cruz del Islote. The island is located opposite the Morrosquillo Gulf, in Departamento de Bolívar, Colombia, and is approximately a hectare long, equal to two soccer fields. ©Charlie Cordero

2025 and cap VII Academy’s pathway, providing a higher education qualification for those who want to work as documentarians, curators, editors, and university lecturers. The MA program will also have a one-year option, offering a Certificate in Visual Journalism to those practitioners who don’t have a BA degree and/or do not wish to complete a thesis project. The course will be fee-paying and open to all, with scholarships for students from the Majority World.

Education Partnership: Nature Through Her Eyes

VII Academy works with Jacqueline Farmer to mentor female African filmmakers so they can document their vision of natural history. This partnership began because we jointly identified a problem, proposed a training solution, and set up a mentoring system. As a result, we have developed new capacity that produces new perspectives.

The NTHE partnership trained the first female African marine biologists to swim and film underwater. In September 2022, it taught natural history filmmaking to emerging Senegalese filmmakers. In November 2022, the second NTHE festival was held in Cape Town, supported by the French and South African governments. NTHE trainees are being commissioned for documentary projects in Asia and Africa.

Nature Through Her Eyes continues to mentor and train Erica Rugabandana. Erica is Tanzania’s first woman long-lens wildlife camera operator and director, following prolonged training on camera and documentary writing and production with the NTHE team.

PAGE 5 THEVIIFOUNDATION.ORG/VII-ACADEMY @viifoundation | @theviiacademy

| The accelerated advance of globalization and extractivist policies that favor mega-mining are affecting ancestral traditions in small rural communities in Cajamarca. ©Francisco Vigo for VII Academy

In June 2023, she finished her first feature documentary Kuishi na Simba (Living with Lions), which achieved global release after winning Best of Festival, Best African Film, and Best Storytelling at Pridelands Film Festival in Nairobi.

Education Partnership: Foundry

Photojournalism Workshop

Foundry Photojournalism Workshop was established in 2008, and since 2019 it has been led by PhotoWings and supported by VII Academy.

The Foundry Photojournalism Workshop is an event that focuses on teaching participants about visual voice, lessons from the field, the creative process, how to work with photo editors, and general business practices.

In the latest edition, over 90 students from 40 Majority World and underrepresented communities in G20 countries participated in the online event. Foundry offers a unique opportunity for participants to learn from some of the world’s most respected photojournalists and photography professionals. In the 2023 edition, eleven instructors taught in nine different languages in a series of classes and one-to-one sessions. Portfolio reviewers from national and international press, galleries, and agencies also provided valuable advice.

PAGE 6 WWW.THEVIIFOUNDATION.ORG @viifoundation | @viiphoto | @theviiacademy

| A young woman cleans the soil of a newly reclaimed soya field while a Kaiowá Guarani mason gives instructions for the construction of the prayer house, the first and most important building in the new village. Mato Grosso do Sul, Brazil. March 6, 2023. ©Renaud Philippe, Golden Scarf Winner at Foundry Photojournalism Workshop 2023

VII Community

In the foundation’s education pathway, ongoing support for our alumni is a vital task. To this end, we created VII Community in partnership with PhotoWings .

VII Community is a network of VII Academy alumni and Foundry participants that number more than 1,000 professionals. It supports those who have completed our courses with connections to the profession through online discussions, presentations, reviews, in-person global meet-ups, and a Discord platform for regular exchanges.

“I find myself browsing the VII Community channels all afternoon. It’s a treasure trove of inspiration and motivation.

I love how many resources I can get in one place, and more keep coming. Book recommendations, alumni websites, grant opportunities, amazing events, portfolio reviews, and everything related to documentary photography that you usually can’t find easily. It’s a comprehensive documentary photography resource out there. I love it.”

VII Academy student and VII Community member

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WWW.THEVIIFOUNDATION.ORG @viifoundation | @viiphoto | @theviiacademy

Eva wearing traditional Kist dress. Village Duisi. Pankisi Gorge. 2018 ©Tako Robakidze

VII Insider

The foundation seeks to elevate the public conversation about visual journalism. For this, we have VII Insider, our free online platform for debate that takes the general audience inside the profession of visual journalism to advance the production and analysis of photography, documentary stories, and visual journalism. Our partnership with PhotoWings makes VII Insider possible.

VII Insider brings people together to see creative presentations, learn from experts in the field, and read analyses of visual journalism. VII Insider offers regular live presentations, an extensive and searchable video collection of more than 120 previous events, and publishes the best writing on the role of images in Dispatches: The VII Insider blog (with 45 articles on Substack and new posts every month).

“The VII Insider programme is truly excellent. I’ve been on many of the sessions, and have just recently been viewing Christopher Morris’ videos on his early photojournalistic experiences, and they have all been truly wonderful. Interesting, insightful and inspiring.”

| VII Insider audience member

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WWW.THEVIIFOUNDATION.ORG @viifoundation | @viiphoto | @theviiacademy | A girl smokes at a cafe in Tehran, Iran, On February 02, 2023. ©Farshid Tighehsaz for the VII Mentor Program

Hear from our alumni

@viifoundation | @viiphoto | @theviiacademy SUPPORT OUR WORK

WWW.THEVIIFOUNDATION.ORG

Marton Monus (Hungary): Attended Eastern Europe: Program for Photojournalism and Documentary Photography in 2020.

“I started working for Reuters in the same year I completed the Level 1 course (2020), and a year later, I also started to cover events for the German dpa. In addition to the two big agencies, I covered the consequences of the war in Ukraine and Hungary for several Western European newspapers. I started one of my favorite longterm projects during this course. In summary, it was motivating and helped me focus on my own projects.”

LuisEnrrique Becerra (Peru):

Attended South and Central America: Program for Photojournalism and Documentary Photography Level 1 in 2023.

“I have begun challenging my questions about representation and evidence in my projects. The course allows documentary visual makers to explore the limits and plasticity of the visual, where the real, the evidence, and the factual are debated. Later in the course, we moved on to the concept, the proposal, and the discourse - what is thought or believed to be ‘real.’”

Andjela Petrovski (Serbia): Attended Sarajevo Seminar for Narrative Photography, first generation, in 2019.

“The course served as a catalyst for me to embark on three personal photo projects, allowing me to explore and express my creative vision in new ways. One of the major milestones I achieved was reviving and successfully managing my own photo magazine, ‘Balkanium.’ The most impactful change, however, was the shift towards establishing my freelance business. Before the seminar, I had a fulltime job, but post-seminar, I found a way to sustain myself through photography. The education I received expanded my technical abilities and equipped me with the tools necessary to navigate the business side of photography.

Hesham Youssef (Egypt): Attended Photopia x VII Academy Photojournalism and Documentary Photography Level 1 in 2022.

“I had the opportunity to exhibit part of my work at ‘Luxembourg Streetphoto Collective’s Slide Night’ by screening some of my photos in a slideshow reflecting on my experience after moving from Cairo to Luxembourg.”

Leonard Bircu (Romania): Attended Southeast Europe: Program for Narrative and Documentary Practice, Level 1 in 2023.

“Engaging with fellow participants and professionals provided a valuable networking platform. Building connections within the industry has opened doors for collaboration and potential opportunities to showcase my work. I now feel more confident applying various techniques, such as composition, lighting, and framing, to capture compelling and authentic moments in my work.”

Mumin Gul (India): Attended South and Southeast Asia: Program for Narrative and Documentary Practice, Level 1 in 2023.

“My confidence increased significantly. I realized I could create a really good documentary photo project if given the right time and guidance. For the first time in my life, I submitted the project for many awards, which was a novel experience for me.”

Israel Fuguemann (Mexico): Attended Central and South America: Program for Narrative and Documentary Practice, Level 1 in 2023.

“The level 1 course helped give me security and confidence in my photographic work, but mainly, it was a good experience to understand how to approach more solid and editorially interesting photographic projects; it also gave me a more realistic approach to the professional photojournalism industry.”

Ufaq Fatima (Indian Administered

Kashmir): Attended South and Southeast Asia: Program for Narrative and Documentary Practice, Level 1 in 2023.

“The intense 12-week training pushed my boundaries and helped me leave my comfort zone to shoot and make pictures. It made me more confident in my understanding of this field. As part of a women’s photo collective in Kashmir (Her Pixel Story), I can now share the key skills I learned from L1 with them.”

Juan Páez (Colombia): Attended Canon Miraisha and VII Academy: L’Histoire Du Monde Á Travers Votre Objectif in 2021.

“I’ve expanded my range of offerings for different approaches to working with images, which addresses more research, as I receive more projects in video format that go to organizations such as NGOs. I can only be grateful for this kind of space that helps to encourage critical thinking in the production of images. After Level 1, after the advice of my classmates, I was chosen by the Gabo Foundation to be the winner of one of the New Narratives on Drugs research grants with the story “The Promise of Medical Cannabis” published in three chapters in the digital newspaper El País America.”

Anonymous: Attended the first in-person Program for Narrative and Documentary Practice, Level 3 in 2023.

“The quality of the content presented was exceptional. Renowned photographers and industry experts associated with the VII Foundation shared their extensive knowledge and experience in the field. Their presentations were thought-provoking, filled with captivating visuals, and accompanied by in-depth discussions. The seminar provided valuable insights into the art of documentary photography, storytelling techniques, and the importance of ethical storytelling practices. The content not only met but exceeded my expectations by offering practical knowledge and inspiring examples that I could apply to my own work.”

Anonymous: Attended the first in-person Program for Narrative and Documentary Practice, Level 3 in 2023.

“In conclusion, the L3 seminar on photography and documentary narrative practice with the VII Foundation surpassed my expectations in every aspect. The seminar’s relevance, high-quality content, interactive format, efficient organization, and networking opportunities made it an outstanding and rewarding experience. I left the seminar with newfound knowledge, inspiration, and a stronger foundation in the art of visual storytelling.”

Anonymous: Attended the first in-person Program for Narrative and Documentary Practice, Level 3 in 2023.

“Overall, the L3 photography and documentary narrative practice course has been transformative for my professional growth. It has equipped me with the technical skills, ethical understanding, artistic inspiration, and critical thinking abilities necessary to excel in the field of documentary photography. By honing my abilities as a visual storyteller, I am now better prepared to capture and convey meaningful narratives that have the potential to create positive change and impact.”

©Kimberly dela Cruz for VII Academy Fellows ©Sharafat Ali for VII Academy Fellows ©Natalia Neuhaus for VII Academy Fellows

1. Fatma Fahmy featured on the front page of The New York Times, 2024

1. 2.

2. Fatma Fahmy featured in The New York Times, 2024

Über Jahre begleitete der Dokumentarfotograf Mitar Simikic eine Familie im Nordosten von Bosnien und Herzegowina, die der Krieg in Armut gestürzt hat. Von den Roma lernen sie, wie man durch Müllsammeln überlebt. Doch Tochter Mila will mehr vom Leben.

1. Marko Risovic featured in The New York Times Magazine, 2022

2. Joshua Irwandi featured in National Geographic, 2020

3. Mitar Simikic featured in Doctors Without Borders Magazine, 2023

4. Mitar Simikic featured in Doctors Without Borders Magazine, 2023

der sich nicht über den Müll im Hof beschwerte und der sich so verhielt, als wäre es ganz normal neben einer RomaSiedlung zu leben und Kupferdrähte auseinander zu dröseln. Mir erschien das Leben dieser Menschen, die trotz ihrer Armut unerschütterlich gefasst waren, spannend. Wenn ich sie fotografierte, schienen sie eigentlich mich vor der Linse zu haben. Ich war ihr Ereignis. Sie der Planet ich der Astronaut. Vater Ahmo und Mutter Melvida fielen mir zum ersten Mal im Jahr 2014 auf, als sie neben ein paar Mülltonnen parkten. Zwei Wochen später sah ich sie wieder. Ich kam gerade von einer Messe, war elegant angezogen und hatte das Gefühl: Jetzt sprichst Du sie an. Sie sahen mich verwundert an – was wollte dieser schicke Typ? Doch sie gaben mir ihre Adresse und Telefonnummer und drei Tage später reiste ich das erste Mal ins Universum Salihovic.

Die Familie lebt in der Stadt Bijeljina in der Republika Srpska im Nordosten von Bosnien und Herzegowina, dicht an der Grenze zu Serbien und nahe meinem Heimatort Ugljevik. In dem Viertel sind die meisten Leute Roma. Ahmo erzählte mir, dass er schon seit 20 Jahren Dinge aussortierte, die andere Leute wegwarfen. Eigentlich war er Maurer, doch dann kam der Krieg, der von 1992 bis 1995 dauerte. Auch danach blieb es schwer, sein Handwerk auszuüben. Als die Leute ihn immer öfter nicht bezahlten und die Aufträge weniger wurden, schaute er sich bei den Nachbarn ab, wie man Geld verdient. Viele glauben deswegen, dass die Salihovic Roma seien. Aber das stimmt nicht. Sie sind eine muslimische Familie. Sie haben von den Roma lediglich gelernt, wie man die Kunst des Überlebens zum Alltag macht. Ahmo wurde ein Self-MadeMan. Wenn man putzen gehe, bekomme man zwölf Euro, hat er zu seiner Frau gesagt, aber wenn man Abfall sammele, trenne und ordne, aus etwas Gebrauchtem etwas Neues mache, dann könne man in der Woche hundert Euro verdienen. Mit diesem Geld kann Melvida weiterhin Burek und Pita in den Ofen schieben und die Stromrechnung bezahlen. Dieses Genügsame wollte ich erkunden. Ahmo erzählte mir, dass er Metall und Plastik sehr aufmerksam sammelt und mit viel Geduld auseinandernimmt.

Wie das

aussehen könnte, auf das Vater Ahmo im Winter aus dem Fenster blickt, oder wie man in der Roma-Siedlung gleich nebenan lebt. 2019 habe ich erneut angefangen, die Familie Salihovic zu fotografieren – dieses Mal im Rahmen eines Stipendienprogramms der Akademie für narrative und dokumentarische Praxis in Sarajevo. Dabei hatte ich das Gefühl, eine andere Sichtweise finden zu müssen, um Milas Geschichte zu erzählen. Ich wechselte das Format und verwende seitdem nur noch das Quadrat. Die Informationen links und rechts im Querformat sind oft überflüssig. Mila ist ein sehr anschauliches Beispiel für eine Gesellschaft, in denen einige nur wenige Chancen bekommen. Mein Hintergrund in Grafikdesign hat mir dabei geholfen, ihr Gesicht abzubilden, als sie sich nicht mehr fotografieren lassen wollte. Ich suche nun nach anderen Methoden, um Einblicke in ihre Realität zu geben und zeige Details. Ich „verstecke“ einen Teil, kann aber vielleicht gerade dadurch die Vorstellung der Betrachter öffnen. Wenn ich etwa Milas künstliche Wimpern fotografiere, dann zeigt das ihre Wünsche, aber eben auch ihre Scheu. Ich kann mich gut erinnern, wie ich selbst

in ihrem Alter Scham empfunden habe, wie ich mich ständig fragte, wie ich auf andere wirke. Samilas Ohrringe fotografierte ich vor einem Spiegel – als Symbol dafür, dass wir uns reflektieren. Manchmal zeichne ich die Welt aus Milas Perspektive, von innen nach außen. Ich zeige ihre rauchenden Schwestern, ihre Mutter wie sie vor den gewaschenen Tüchern steht, oder das Kätzchen in Milas Hand. Ich mache das alles sehr langsam, ich bin kein Reporter mehr. Ich erzähle jetzt dokumentarisch – man könnte fast sagen auf analoge Art – obwohl meine Kamera digital ist. Mila hat als einzige unter den fünf Geschwistern eine höhere Schule besucht, eine Landwirtschaftsschule. Die anderen Mädchen haben geheiratet. Als ich sie als Elfjährige kennenlernte, hat sie mich mit Fragen gelöchert, gern gelesen, geschauspielert, Fußball gespielt. Mila hat nicht auf ihre Schwestern gehört, die meinten, man brauche nicht mehr Bildung als die Grundschule. Für das letzte Schuljahr bräuchte sie nun 500 Euro. Doch weil ihr Vater Ahmo vor Kurzem gestorben ist, kann sich die Familie das nicht mehr leisten. Daher arbeitet Mila jetzt ein paar Stunden in der Woche für die NGO „Zora-Morgenröte“. Dort unterrichtet sie Roma-Kinder in Lesen und Mathematik.

DIE WELT DER

SALIHOVIC

BOSNIEN BOSNIEN

FAMILIE

MITAR SIMIKIC Am Anfang, als ich die ersten Male zu Familie Salihovic nach Hause kam, haben mich die fünf Kinder „den Astronauten“ genannt. Ich kam aus der Außenwelt, und hatte dieses Techno-Ding – nämlich die Kamera – in der Hand. Ich war in ihrem Hinterhof gelandet wie ein Forschungsreisender auf einem Stern. Vermutlich war „Der Astronaut“ auch leichter zu merken als Mitar. Denn Mitar hätte jeder heißen können. Aber nicht dieser Typ,

Porträt von Mila in der Schule: Als einzige der SalihovicKinder erwartet die 18-Jährige mehr vom Leben als Heiraten und Müllsammeln. Sie geht auf eine höhere Landwirtschaftsschule, um Agrartechnikerin zu werden – doch nach dem Tod des Vaters fehlt ihr das Geld für das letzte Jahr. 74 75 BOSNIEN BOSNIEN Shaban ist das dritte Kind der Familie Salihovic. Jeden Tag geht der 19-Jährige mit seiner Mutter und seiner jüngsten Schwester Almedina zur Arbeit: Sie sammeln Abfall und gebrauchte Gegenstände um diese anschließend zu sortieren. Als einziger Sohn übernimmt er nach dem Tod des Vaters die Verantwortung für das Familienunternehmen. Mit dieser Wand will ich den sozialen Rahmen zeigen.

Fantasie

Ich möchte aber auch die

anregen:

Feld

Sommer

1. 2. 3.

1. Uma Bista featured in The New York Times, 2024

2. Ta Mwe receives the Southeast Asia and Oceania Long Term Projects award in the World Press Photo Foundation 2024 Contest.

3. Mar Naw announced as a finalist in the 2024 Pictures of the Year Asia award

4. Renaud Philippe featured in The New York Times, 2024

GLOBE THURSD ,M CH 31, THURSD ,M CH 31, GLOBE ders have 57, the sed the al Kalito mor -sinking capital time 20 to 28 primarily const ents, which to stand bmerged and er year ods hapwith the US$70kar govove the Besar (Big uction system unable to the main the Cilist up space, Jakarta Puncak, settl plants to lems: polluted contribalon with gist ed cent ar ssil fuels, electricit THE PR OMISE OF NUSANTARA The lan will be subdivided int thre development parts: “central gove ea” sized 6,671 hectares, mor extensiv “capital gion at 56,180 hectar and “development capita ea” of 199,96 hecta s. The central government area, wher th new stat palace will be situated, will be the first segment to be developed According to the Indonesi Fo fo Environment, muc of the land is state-owne though with at least 154 nd conce sions with coa mining companies pulp-paper mpan and pal oil plantations (Indonesia the larges producer and export palm oil rldwide) Ninety-fo coal mine pit in th area have not undergone reclamation Al told, total of 260,000 hectare of industrial fo st, consisting of eucalyptus and acacia trees, will be ed to bui d Nusantara. Despit the underlying environmental issues, Mr Widod to adhe to the gr itment and design. On national radio broadcast in February he said “revitalization and reforestation” will hap in he first stag of nstruction to ensure Nu an ar meets its aim being sma cit with emissio Among the ke perf ance indicators ar the usage of 80 per cen renewable energy reliance on 80 per cent public transport and duction of the temperatur by tw degrees. ‘WE ARE RE AD TO MOVE IF WE ARE EV ICTED’ Construction will fo many Indigenous peoples, th Dayak Pa to lea thei home Hamsah 44, Dayak Paserese, and his wif Ijum Marya 38, liv in the last house befor the security en ance to th location of Nusantara. They have thre patches of land in the region, nearly all of which is ed fo pal oil. Eac th, the couple harvests between 100 and 200 kilograms of palm fruit, which fe h the pric of 1,500 rupiah –abou 13 cents – ki ogram when so at local distributor While luctant to Hamsah Marya and thei eight children e looking relocate once the capital cit ablished. “W ar gardener and truthfully we didn’t want ac A city would be an inconvenience fo us to expand gardens But it’s the President wish, and we nee to move forward as countr ady to evicted Marya says. Behind the home ar rows of wooden houses filled with low-in families Ther is growing uncertaint the people who py this In lett from the Indonesian gove ent garding the terminatio of the tenancy ther is no time frame as to when they will be fo ed to lea and indication of wher they ar going be moved to Meg ati, 45, liv in home her with her husband Duansa, 43. “It’s hard to find work now and uld be harder when the capital cit here, she says. “W can’t fight We ar poor an we don’t get an additional support from the govent. She against Nusantar and believes new capit not ded. “Jobs ar hard, and we have no cap ta to start an business. DESIGNING A NEW CAPITAL Mr Sofian, ch ect and owner of design firm URBAN+ based in West karta the project’ lead designer His environment-focused design, calle Nagara Rimba Nusa – which translat “Stat Forest, Islands” – wa chosen from 255 domestic and international entries 2019. “W hope the capital cit will become role mode fo other cities Indonesia. The dream that. We nt to be the model fo fo -inspired citie To sh w th world that we can make cit that is out the bo that will tackle all issue imat change,” Mr Sofian says “The bigge challenge fo us how to put ufact ed cit in tural settin in the respectful wa Because when we build cities, design cities, alr dy start to ay from the wisdom of the land, the wisdom of natur Yo need really represent how human lat to natur this ed lationship. The cit right now we livin in – Jakarta – doesn’t ha that kind of balanc Mr Sofian’s vision is to “build the forest first befor building the ty”; only 30 per cent of land space will be rted int buildings and office “When we began to plan, we chose the area wher th already being disturbed. We didn’ want to change the virgin fore int an urban area. AG REEN PA LACE LIKE NO OTHER Nyoman Nuarta is prominent art figur in Indonesia and part of the Ne Art Mo ment the 1970 Throughout his career he has been prolific in eatin large iconic sculptur in cities throughout the country as we as internationally Fo Nusantara, he wa hired to des gn structur tha would become showpiece of the planned stat pal complex The palace, whic estimate to cost US$104milli Indonesia’s most expensiv stat bu din – an one of the largest stat complexe on record. The most distincti part of the design will be copper structur in the shape of garuda, national symbol of Indonesia. Durin my visit to Mr Nuarta’s workshop in October polyester resin mode of the new palace wa set table to statu Sukarno, Indonesia’s firs president. Nearb copper blade structures, smaller rsio of tho that will be use control the building airflow were bein put through trials. hope this will beco an icon, unique building out of the ordinar Mr Nuarta says. “It’s an chitectural sculpt It functions, but also can find our dignit from its aesthetics. represents 260 million Indonesian population. So it’s not only fo beaut or comfort but also fo our dignit ign tion hope raise our spirits. Like the new capital city, the palace bein designed with tainability in mind. “T adher to the green desig he easiest thing to do is to plan possible. The equato passe through the capital city, and people say the ees on the equator grow 10 times faster th land with fo My hope is that in one, tw years max, ever thing in the capital will be gr IF YO BUILD IT WILL THEY CO ME? One Nusantara’s goals to disp the trated population in kart and Java Great Jakarta, known locally as bodetabek the most populou metropolitan area in Indonesia and the second-mos populous urban area in the world afte Tokyo, with total populatio of 31,240,709 in 2020 Economic disparit is starkl visible: While Central Jakarta filled with skyscrapers, man slum ar found in the suburbs Accordin to Statistics Indonesia, the povert rat in kart as of July 4.72 per cent, the highest in years The ke is to id the fiv to proble of Jakarta floodin sinking pollution, inequalit and traffic. Mr Sofian believe that his design cate to tha si but he knowledges tha people must have an ncent to move “The myst is always ho to art, he says “Our concep goes beyond just simply building One of the ke parameters diversit no only in biod ersity but also diversit of the society. Yo don’t just allow government official to be there If all gove officials py the space, then it will become governmen cit needs to be functional design, Mr Sofian says. “That you ot rush. Yo the businesses to tak on cou se He add “W ha the ch to plan this fro scratch Jakarta never had that chance. Special to Th Globe and Mail Hamsah, Daya Pa and his wif Ijum Maryati liv in the las house befor the security entranc of Nusantara. They and their eight children ar looking to locat the capital city is tablished. the sea near Waladuna Mosque in Muara Baru North Jakarta, Augus 2021. The mosque has been affected by coastal floods sinc 2000. January 2020. The mos cent several major sulted in timated loss of US$70 A drone image shows housing compound North Jakarta in September 2021. Given the ent rat at which Jakarta is sinking, it’ edicted the city will be submerged by 2050. FOLIO NEWS The Bridge of Sungai Manggar retches out ahead beyond the Manggarai to gateo the wa to Nusantara. The hilly winding rout takes motorists through pristine rain fore Sibarani Sofian’ design fo the new capital wa selected in 2019 from 255 submissions: ‘What ed to be ry of is if and do te to the possibility of ri k This dam in the district of Sepaku part of the in ra ructur planned to mi gat flood issues and ide te to the ty of Nusantara. This scale design of the presidential fic part of the at palac complex planned fo Indonesia’ new capital, created by prominent Indonesian artis Nyoman Nuarta. The palace, which estimated to cost US$104-million, will bec Indonesia’ expensiv at building. ia: The country’s $34.9-billion plan to replace sinking, polluted Jakarta ge: _396640 Wand an Wand drängen sich circa 100 Häuser auf der Miniaturinsel vor Kolumbiens Küste. Die Bewohner sehen ihr Leben nicht so eng, sie haben ja das Karibische Meer vor der Tür. Ihr großer Feind: der Klimawandel 70 KOLUMBIEN Text: Jan Christoph Wiechmann, Fotos: Charlie Cordero Santa Cruz del Islote ist nur etwas größer als ein Fußballfeld, aber dichter besiedelt als Manhattan. Bei rund 1200 Einwohnern kennt jeder jeden. Kriminalität gibt es kaum: zu wenige Verstecke. Doch auch erste Küsse bleiben nicht geheim Eine Insel voller Leben GEO 09 2019 71 1. Fatma Fahmy featured in Global Citizen, 2023 2. Charlie Cordero featured in GEO, 2019 3. Joshua Irwandi featured in The Globe and Mail, 2022 4. Joshua Irwandi featured in National Geographic, 2022 3. 1. 2. 4.

1. Vladimir Zivojinovic featured in The New York Times, 2024

2. Jordan Gale featured in The New York Times, 2023 2.

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