Khaula Jamil is an independent freelance documentary photographer, photojournalist and filmmaker who was born and raised in Karachi, Pakistan. An avid traveller who works for local and international development organizations, foundations and businesses, she covers diverse subjects ranging from climate change and health to agriculture and human rights all over Pakistan.
Khaula collaborated with Amnesty International on a photo project, for the organization’s Age Loud! campaign, documenting the resilience of older people in Karachi as they navigate everyday challenges in one of the world’s megacities. She shared her reflections on the project and her work with Amnesty campaigner, Elena Sergi.
What inspired you to become a photographer?
I grew up with my father constantly filming me and my sisters during the 1980s with his large camera. Decades later, when I was in college, he got all the VHS tapes converted to CDs and we watched the footage. I fell in love with the concept of documenting moments and life because, with the world changing so fast, this idea of preservation struck me as something that was needed to understand and reflect on the past. Eventually, storytelling and exploring my city came into play and I studied the philosophy of Avishai Margalit and his concept of becoming moral witnesses and the responsibility we bear to share what we see around us, as discussed in his book “Ethics of Memory”. For me photography is a very effective tool to be able to do what I want: to tell stories in meaningful ways.
Can you tell me about the issues and topics you usually cover?
I am mostly commissioned to do case studies on and document stories around health, education, climate change, agriculture and other development subjects. I personally love it when a more anthropological project comes along that allows me to write and photograph culture and history. I am also almost always working on personal projects that I produce independently around youth culture, particularly in marginalized communities in Pakistan.
You recently went on a story-gathering trip with Amnesty International’s Crisis Response Programme as part of Amnesty’s Age Loud! campaign. Where did you travel to and what you were covering?
We were interviewing older people of all socio-economic statuses regarding their experience and thoughts on ageing in order to understand their emotions and also their challenges as older citizens while living in a megacity like Karachi.
Why is it important to highlight discrimination against older people, particularly in Pakistan?
Firstly, Pakistan is a country that functions as a collectivist society as opposed to an individualistic one. While that has its benefits, it does not mean the state is excused from providing for a safe and secure existence. Secondly, only 4% of Pakistan’s population is over the age of 65. It’s easy to discriminate when you are designing the future for a young population. It’s important to highlight discrimination against older people because, by 2050, that 4% is projected to increase. The policies made today will benefit the older people of tomorrow.
Can you tell me about some of the people that you photographed?
For the project we photographed fishermen, daily wagers, vegetable sellers, and a retired woman who lives alone and feeds stray animals in her neighbourhood among other interesting older people.
Who surprised you and why?
The older transwoman was the most surprising for me because, despite having documented and spent time with third-gendered individuals in the past, I had only interacted with younger trans people and mostly about their activism. This was the first time I heard the perspective of an older transwoman. Their lives are already so difficult as young people. To hear how they live in even more despair once they are past their youth and essentially lose their means of earning, it was hard-hitting.
Has this experience altered your views about ageism and age discrimination?
In one way this experience has heightened my respect for my eastern and Muslim culture and the fact that, whatever flaws that may exist in Pakistan, the sense of collective society is an incredible blessing. Even if the state implements every law to provide rights to older people in Pakistan tomorrow, I hope we never lose our sense of community.
What story do you think your images tell about the lives of older people in Karachi?
I think my images tell a story of self-reliance and being satisfied with the hand you have been dealt in life. I think older people in Karachi and Pakistan generally have immense faith in Allah and they truly feel that eventually everything will work out (even if they may be in dire need of basic things like housing, water, food, etc). Each person we met exuded a sense of self-worth and pride despite all their challenging circumstances. There is a word in Arabic “Tawwakkul” which defines the Islamic concept of trusting in God and relying on His plan and I hope that my images reflect that.
Can you tell me about other stories you’ve covered as a photographer?
One of the most interesting stories was about an indigenous community living in a remote part of northern Pakistan called Kalash. Kalashas are a religious minority tribe and practice a polytheistic pagan religion close to animism [the belief that all living things have a soul]. It was an open brief, so I chose to focus on how a new generation of educated modern thinking Kalashas are navigating their ancient past and how it informs their future.
Another story was about the thriving football culture in a volatile and dense neighbourhood of Karachi known as “Little Brazil” that harbours the most passionate community of fans of the Brazilian football team. Known for its history of gang violence, I photographed young residents who were doing everything in their power to shed the stereotypical narrative of violence that has stigmatized their lives and show just how much they have to offer when it comes to music, sports and art.
What photographs are you particularly proud of and why?
I think photographs that offer the most context and mean something are probably more important to me than anything visually beautiful that is lacking depth. There are photographs I have taken with my phone in an instant that I am prouder of than ones I spent a lot of time working out the perfect light for, because they were taken in instances where there was no time to think about anything but that moment.
What makes a good photographer?
Photography is a vast and diverse industry but I can weigh in as a photojournalist. I think a good photojournalist is someone who knows when to walk away and not take the shot, even if it is something that will get them all the praise in the world.
When you’re travelling and talking to people from diverse backgrounds, wanting to bear witness and share their stories, it needs to be about that and the best you can capture respectfully rather than about you and the maximum you can extract by overstepping the boundaries. An empathetic and ethical photographer makes a good photographer.
How do you see the role of photography in advocating for human rights, specifically for older people?
Photography has the power to show rather than just talk about the challenges people face. It humanizes a person and makes them real and tangible. As humans, we need visuals in order to connect to something and to care about someone, especially if they are on the opposite side of the world living a life we cannot fathom, regardless of age.