ZEKE Magazine: Spring 2022 Preview

ZEKESPRING 2022 VOL.8/NO.1 $15 US 

THE MAGAZINE OF GLOBAL DOCUMENTARY 

Published by Social Documentary Network 

Sustainable Solutions to the Climate Crisis 

Preview Edition. 

ZEKE SPRING 2022/ 1

ZEKE AWARD FOR SYSTEMIC CHANGE 

FIRST-PLACE WINNER 

Indigenous Fire 

Photos by 

Kiliii Yuyan 

United States 

Despite the intense focus on apocalyptic 

wildfires raging across the 

American West, scant attention 

is paid to solutions to climate 

change-exacerbated wildfire. One 

in particular–fire-lighting rather 

than fire-fighting–has proven to be an 

exceptional weapon against a seemingly 

impossible opponent on a landscape-level 

scale. It’s known as cultural fire. People 

like Margo Robbins and Elizabeth Azzuz 

of the Indigenous Peoples’ Burn Network 

are training others in an ancient technique 

of ecological restoration, which is to safely 

light low-intensity fires in wet seasons that 

remove the small fuels on the forest floor. 

Not only does it effectively prevent wildfires 

from spreading, but it also performs a 

13,000-year-old function—the restoration of 

health of the forests of Northern California, 

the most diverse coniferous forests on earth. 

Kiliii Yuyan illuminates stories of the Arctic 

and human communities connected to the 

land and sea. Informed by ancestry that is 

both Nanai/Hèzhé (East Asian Indigenous) 

and Chinese American, he explores the 

human relationship to the natural world from 

different cultural perspectives and extreme 

environments, on land and underwater. Kiliii 

is an award-winning contributor to National 

Geographic, TIME, and other major publications. 

Kiliii is one of PDN’s 30 Photographers 

(2019), a National Geographic 

Explorer, and a member of Indigenous 

Photograph and Diversify Photo. His work 

has been exhibited worldwide and received 

some of photography’s top honors. 

Margo Robbins, of the Cultural Fire 

Management Council, leads firefighters 

as they light an Indigenous-prescribed 

burn with bundles of wormwood in 

ceremony, near Weitchpec, CA. 

2 / ZEKE SPRING 2022


The open view of a Yurok culturally 

burned area in Orleans, CA. The airy, 

open nature of the forest here contrasts 

the tight and fire-prone unburnt forest 

in the background. The continuation 

of ancient cultural burning reminds 

us what is possible in fire-prone 

California. Photo by Kiliii Yuyan. 



ZEKE AWARD FOR SYSTEMIC CHANGE 

FIRST-PLACE WINNER 

Nemo’s Garden 

Photos by Giacomo d'Orlando 

Italy 

According to the Intergovernmental Panel 

on Climate Change, the desertification 

caused by climate change has extensively 

reduced agricultural productivity in many 

regions of the world. Current population 

projections predict a population of 

10 billion by the end of the century, creating an 

additional two billion mouths to feed. It is urgent, 

then, to find an alternative method of cultivation 

to ensure an ecologically sustainable future. 

Nemo’s Garden—the world’s first underwater 

greenhouses of terrestrial plants—represents an 

alternative farming system dedicated to those 

areas where environmental conditions make the 

growth of plants almost impossible. The microclimate 

and thermal conditions within the biospheres 

are optimal for plant growth and crop yields. The 

encouraging results, where more than 40 different 

species of plants have been successfully cultivated, 

give us hope that we have found a sustainable 

agricultural system that will help us tackle the 

new challenges posed by climate change. 

Giacomo d’Orlando is an Italian documentary 

photographer focused on environmental and 

social issues. In 2015, he moved to Nepal and 

then Peru to enter the world of photojournalism, 

working alongside local NGOs focusing on social 

issues. His subsequent time in Australia and New 

Zealand inspired him to concentrate on the environment, 

particularly the possible future scenarios 

caused by climate change. His projects have 

appeared in The Washington Post, Der Spiegel, 

Paris Match, El Pais, Geo France, De Volkskrant, 

D-La Repubblica and Mare Magazin, among others. 

Today, his work looks at how the increasing 

pressures brought about by climate change are 

reshaping the planet and how present-day society 

is reacting to the new challenges that will 

characterize our future. 

The dark silhouette of Gabriele 

Cucchia, senior engineer of the Nemo’s 

Garden project, seen from the seabed 

while carrying the upper part of the 

biosphere to the installation site. 




A group of divers admire the Nemo's 

Garden during their immersion. Since 

the Nemo's Garden has been created, 

the fish population of the area 

increased. In fact the Nemo's Garden 

structure acts as a shelter for many 

animals, supporting the repopulation 

of the surrounding area. Photo by 

Giacomo d'Orlando. 


Inside the Palabek refugee settlement in 

Northern Uganda, with the staff of African 

Women Rising’s (AWR) Permagarden 

Program, I witnessed how this innovative 

approach is disrupting the broken aid 

system by adapting food production to the 

realities of climate change, changing lives and 

futures in the process. 

AWR works with refugees to utilize the 

existing resources—seeds, rainfall, limited 

land, and “waste”—and together build 

an agriculture system designed to help the 

environment regenerate and get stronger 

as it matures. Within two weeks, farmers 

are harvesting microgreens, within a month 

they can start eating from their gardens, and 

beyond that many people are able to make 

money selling their vegetables. Their gardens 

ensure needed vitamins and that mothers can 

produce milk to breastfeed their babies. 

Radical in its simplicity and effectiveness, 

the success of AWR’s permagarden program 

has tremendous implications for refugees and 

humans worldwide. 

Journalist, climate activist, and political scientist, 

Sarah Fretwell, works as a multimedia 

storyteller. Her work focuses on the intersection 

of the environment, people, and business with 

one question: What if the new bottom line 

was love? Her award-winning photojournalism 

explores the lives of everyday people with 

extraordinary stories and creates the human 

connection that engages people on a personal 

level, offering individuals a voice for justice, 

insight for solutions, and the human connection 

needed for international engagement. 

Some of her notable work and clients include 

the BioCarbon Fund, United Nations, USAID, 

The Africa Prize for Engineering Innovation, 

World Bank Group, and Tara Oceans 

Foundation. 

Permagarden 

Refugees 

Photos by Sarah Fretwell 

Uganda 


Yaka Lucia, in the beginnings of her 

Permagarden with her baby, Rosa. 

Before she planted her garden, they 

survived on rations from the World 

Food Program—maize, beans, flour, 

oil, and salt. Eating only the food 

rations, her breast milk dried up, and 

she could not feed her baby. Once 

she started eating the greens from 

her garden, her breast milk returned 

within two weeks. Between her 

Permagarden and food rations, she 

can now feed all of her children for 

the entire month. 


Nina Morgan grew up in the shadow 

of a coal mine. The four-room shotgun 

home she shared with her twin brother, 

mother, and grandmother is in the 

tiny community of Sipsey, about 30 

miles North of Birmingham, Alabama. 

More precisely, they lived in the “Black 

Camp,” the name still used by locals 

over one hundred years after the 

DeBardeleben Coal Company built 

this company town, segregating workers and 

their families by race. Generations of Morgan’s 

family have worked in the mines. Back behind 

the house, past the old graveyard marked with 

stones where great grandfather Tommy who died 

of Black Lung is buried, she and brother Ishmael 

played in “the spot”—a former blasting site filled 

with rainwater. 

Today, Morgan is the Climate & Environmental 

Justice Organizer for 

Greater Birmingham 

Alliance to Stop 

Pollution, better known 

by the acronym, 

“GASP.” “Coal is killing 

us. It’s breaking down 

our bodies,” Morgan 

told me. She warns of 

a coming reckoning 

bringing an end to the 

“legacy and history of 

extraction, exploitation, 

and violent racism” 

that has devastated 

Sipsey and much of the 

American South. 

Central to her effort is shifting Alabama away 

from all fossil fuels, and she has no shortage 

of plans to accomplish this goal. “The answers 

Sustainable Solutions to 

By Antonia Juhasz 


the Climate Crisis 

Nina 

Morgan, not far 

from her grandmother's 

home in Sipsey, Alabama. 

Photograph by Andi Rice, 

2021. 


ZEKE AWARD HONORABLE MENTION WINNER 

Roberto Nistri 

Burkina Faso: The Power of Resilience 


As part of the "Terre Verte" project to combat 

desertification, selected seeds are used to withstand 

conditions of water scarcity. 

In Burkina Faso, an African 

country considered one of 

the poorest on the planet, 

desertification, amplified 

by global climate change, has 

made entire districts unusable for 

agriculture, forcing those who live 

there to migrate to neighboring 

states or to Europe. 

Some projects implemented 

by international and local NGOs 

such as Terre Verte encourage and 

support traditional farming techniques. 

By applying a principle of 

“resilience” to these disastrous 

changes in the environment, 

numerous projects aim to make 

the desertified areas fertile, allowing 

local communities to cultivate 

them again trying to limit the 

phenomenon of “environmental 

migration.” 

In other areas of the country, 

climate change has made the 

duration and intensity of precipitation 

unpredictable, making it often 

disastrous for subsistence farming. 

The radical change in the landscape, 

its flora, and the drought 

in some areas now become 

chronic, have erased the great 

African fauna in most of Burkina 

Faso’s territory. 

Top: Project “Terre Verte.” Once grown, 

the plants continue to be watered individually 

until the development of their 

root system. 

Bottom: Floods,in Burkina Faso due 

to the climate change taking place in 

the country, occur more and more frequently 

even outside the canonical rainy 

season. They block the life of cities, 

including schools, for days. They can 

destroy also an entire crop or, in cities, 

tear down homes and small businesses. 


ZEKE AWARD HONORABLE MENTION WINNER 

Mark Phillips 

Unbroken: Repair is Essential 

The anatomy of a mobile phone. 

Weighing around 160 grams, 

smart phones are made up of 

approximately 30 elements, 

including copper, gold and 

silver for wiring, and lithium and 

cobalt in the battery. The touch 

screen and display use indium, 

boron and rhodium. The circuits 

and chip use silicon, bismuth, 

gallium and gold. The camera 

and microphone use rare earths 

including neodymium, dyprosium 

and praesodymium. The vibration 

motors use tungsten and micro 

capacitors use tantalum. 

A complex mixture that has to 

be extracted from the earth and 

processed to make the materials, 

before being made into components, 

and sub-assemblies that 

are assembled into your phone, 

packaged, transported across the 

globe, and then sold. 


We now create nearly 55 

million tons of electronic 

waste each year—our 

fastest growing waste 

stream. When we no longer want our 

electronic devices, or if we break them, 

the resulting waste creates tremendous 

environmental problems. Even bigger is 

the impact of the materials extraction to 

make all these electronic devices in the 

first place. More than 80% of electronics 

waste is not recycled properly; we do not 

even know where most of it ends up. 

Recycling only recovers a fraction of the 

resources consumed and can potentially 

create even more toxic waste. One solution 

is to make our products last longer, 

through repair, reuse, and refurbishment. 

This requires systemic change—in 

policy, capabilities, and culture—and 

has the potential to make a substantial 

positive impact in the consumption and 

waste of resources and the environmental 

damage caused by both. 

Top: Scavenged washing machine pumps at the 

Kierratysekskus (reuse) facility in Helsinki, Norway. 

The pumps will be used for future repairs. 

Access to economic spares is a major challenge 

for repair. 

Bottom: Electronics repair department at the Kierratysekskus 

(reuse) facility in Helsinki, Norway. 


BOOK 

REVIEWS 

EDITOR: MICHELLE BOGRE 

AFTER US THE DELUGE: The 

Human Consequences of 

Rising Sea Levels 

Photographs by Kadir van Lohuizen 

Lannoo, 2021 | 288 pages | 45 Euros 

A newly built sea wall is not very effective. Jakarta, Indonesia. 

Kadir van Lohuizen’s massive 

new book After Us The Deluge 

sits on the coffee table in 

front of me, the title a bold, radioactive 

salmon tone. The cover image 

is a muted image of a girl treading 

through water suggesting the book’s 

content—the current and future effects 

of rising sea levels on seven different 

parts of the world. Each chapter is 

split into two sections: an essay by a 

prominent figure in the field, followed 

by van Lohuizen’s stark photographs of 

people in flooded lands, aerial images 

of islands, and landscapes from around 

the globe. Together the images and 

words tell the story of the effects of 

climate change on coasts, and cities 

threatened by an underwater future. 

This book is a call to action, but it isn’t 

always clear to whom it is calling out. 

The title of this book plays on a 

monarchic idea of abandon, of living 

in decadence and pushing the problem 

to another generation. But, who is the 

author speaking to, when he says us? The 

book doesn’t provide a clear answer, but 

it is clear who will be—and are—the first 

to face the consequences. In the chapter 

on Guna Yala (Panama), there is an 

image of a young girl on the beach with 

her hands crossed. Her body language is 

strong but tense, and her gaze is angry. 

She stands not only for her community 

facing the effects of climate change and 

rising sea levels, but also for her generation 

and generations to come. 

Perhaps us is anyone implicated in the 

future of the girl from Guna Yala, who 

benefits from a lifestyle responsible for the 

deluge to come. Even so, the book seems 

to speak to a more specific audience. The 

structure and tone of After Us The Deluge 

resemble a commission report. Saturated 

in technical terms and figures, the text 

and images provide little room to experience—to 

feel—the implications of climate 

change. Urgency is drowned by formula. 

Although the book is framed as an open 

invitation to participate in saving the 

world, it is evident that the photographer 

and essay authors speak in the language 

of policy makers and industrialists. A 

book can change the world, by imagining 

what it could be, but this book lacks 

imagination. The images are not spectacular, 

though they depict awful truths. 

They are sharp, dull, and laid out in in a 

utilitarian manner. They are there to play 

their role as documents, to relay a dangerous 

situation to powerful people who 

could potentially do something about it. 

The world can be seen differently, and 

so can books, and this book has a new 

world hidden inside of it. A rogue reader 

can read it in an imaginative way: randomly 

flipping the pages. A page drops. 

It is a picture of a man’s head sticking out 

of a flooded street. He seems calm, as if 

all of this had been anticipated. Behind 

him, a palm tree is suspended in the air, 

waiting to collapse. Is this an image from 

the past, or an illustration of the future? 

Another flip reveals a picture of a boy, 

draped in plastic, walking by an eroding 

coast, a panorama of flooded lands and 

heavy clouds. These random images, out 

of time and place, best communicate the 

reality of the crisis we collectively face. 

Flipping chaotically through the pages, 

Greenland becomes The Netherlands and 

Fiji and Miami grow interchangeable. A 

charge is in the air, a storm which leaves 

the book and enters my apartment. A 

drop of water falls and immediately soaks 

into the page. Is it my drink or is it raining 

here too? The water drop leaves behind a 

mark, the threat of a storm to come. 

—Dana Melaver 


RISING AMONG RUINS, 

DANCING AMID BULLETS 

Photographs by Maryam Ashrafi 

Preface by Gary Knight 

Hemeria, 2021 | 252 pages | 65 Euros 

In reading Rising Among Ruins, 

Dancing Amid Bullets, we need 

to ask ourselves what is this book 

about. Is it about the struggle for Kurdish 

autonomy in the Middle East with a 

focus on Kurdish women fighters or 

is it a book of photographs about the 

struggle for Kurdish autonomy in the 

Middle East with a focus on Kurdish 

women fighters? The former puts the 

emphasis on the primacy of the political 

history of the Kurds, while the latter 

puts the emphasis on works of art on 

paper that can touch us in ways that an 

alphabet soup of Kurdish political parties 

never will. 

Ashrafi meets us somewhere in 

between but leans towards the former— 

an extraordinarily powerful book that 

educates us about the complicated, divisive, 

violent, and sometimes inspirational 

recent history of the world’s largest ethnic 

minority without a nation. And to do so, 

she presents us with outstanding and 

important photos of her journeys through 

Kurdistan during the recent wars in Iraq 

and Syria. 

The book’s preface by Gary 

Knight—co-founder of the VII photo 

agency—focuses on the meaning of the 

photographic images and particularly 

the importance of Ashrafi’s images of 

women in conflict. Other essays are more 

focused on Kurdish political aspirations. 

But no one comments on the artfulness 

of Ashrafi’s images and how they can 

provide a deeper understanding of the 

drama of humanity. 

In 352 pages of black and white photographs 

and essays, we are intimately 

brought into the centuries-old struggle for 

Kurdish autonomy in the Middle East. 

More interestingly, Ashrafi focuses on 

the Women’s Protection Unit (YPJ) and 

their adherence to Abdullah Ocalan, 

the leader of the Kurdistan Worker’s 

Party (PKK), who has been imprisoned 

in Turkey since 1999. A former Marxist- 

Leninist, Ocalan now embraces the 

ideas of an obscure American anarchist, 

Murray Bookchin, and his theory of libertarian 

communalism to “build an egalitarian 

ecological, profoundly democratic, 

and tolerant society in which women can 

finally live in fulfillment.” 

At great personal risk, Ashrafi travels 

through the region and makes remarkable 

photos and portraits of Kurdish women 

fighters from the YPJ, soldiers from Syrian 

Democratic Forces (SDF), Yazidi women 

and children who escaped genocide on 

Mt. Sinjar, fighters from Free Women’s 

Units (YJA), Peshmerga fighters, refugees 

from across the region, and others. 

Ashrafi’s work compares to similar 

efforts such as Robert Capa and Gerda 

Taro’s documentation of the Spanish 

Civil War (often compared to the recent 

Kurdish quest for autonomy); or Susan 

Meiselas’s, Nicaragua, about the 

Sandinista revolt in 1979 against the dictatorial 

Somoza dynasty. The significance 

of the work by Capa, Taro, and Meiselas 

is that they are each an equal balance 

between the aesthetic brilliance of the 

images and the context of these images. 

In the case of Ashrafi, her work leans 

more towards the latter—the context. 

It is interesting that in an interview with 

Ashrafi in the book, she seems dismissive 

of one of her seminal photos —an 

extraordinary portrait of a member of the 

Women’s Projection Units mourning at 

the grave of Ageri, a martyred comrade. 

While Ashrafi recognizes that this photo 

could be iconic, she sidelines it because 

she cannot accept that her subject’s 

This Arab woman returned to Tabqa with her family 

after the liberation of the city. In her 40s, and a mother 

of 9 children, she had no choice but to live in an abandoned 

building with her family, as their house was 

destroyed during the war against ISIS. 

beauty may detract from the viewer’s 

understanding of the tragic reality of 

this funeral. Ashrafi cannot quite accept 

the magic of her own images and how 

powerful they can be to communicate a 

very human moment that transcends the 

complex political subtexts described by 

the other essayists in the book. 

The book presents us with a deep 

historical context, but again we are faced 

with the question: are Ashrafi’s photos 

illustrating these essays or are the essays 

providing context that the photographs 

just cannot provide on their own? That is 

the crux of the problem, but perhaps it 

is too much to demand from one book. 

In the end, these are extraordinary 

photographs not seen elsewhere, supported 

by important political history. After 

reading this book, you will walk away 

appreciating the brave accomplishments 

of Ashrafi, the beauty and tragedy of 

the Kurdish people as they continue their 

struggle for freedom, and the uniquely 

misunderstood revolutionary ideology 

of Bookchin, Ocalan, and the Women’s 

Protection Units that are transforming 

gender relations in a part of the world 

that is otherwise known for its harsh and 

inhumane treatment of women. 

—Glenn Ruga 


ZEKE 

SPRING 

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PROFILE 

Antonia Juhasz 

Author of "Sustainable Solutions to 

the Climate Crisis 

By Daniela Cohen 

New Orleans-based author and investigative 

journalist Antonia Juhasz aims 

to “move readers to see themselves as 

active participants in the events that 

shape their own and other people’s lives,” 

hold bad actors to account, and present 

solutions to pressing problems. 

With a focus on energy and climate, for 

her, reporting has been a tangible way to 

immediately be of service. 

Juhasz’s passion for this work is obvious, 

with early roots including time in 

her 20’s as a legislative assistant in the U.S. 

Congress, where she experienced firsthand 

the harmful and undue influence of certain 

corporations over the country’s policy 

process. Her determination to confront 

this evolved into a focus on oil companies, 

particularly during the Bush administration 

and the Iraq war. Later, she noticed how 

most of the reporting on the oil industry 

was done by finance journalists, many of 

whose coverage was limited by interdependent 

relationships with the companies they 

reported on and did not include investigating 

broader impacts on human health, 

environment, politics, human rights, war 

and peace, and climate. 

“I wanted to apply a holistic approach 

to look at fossil fuels through all of these 

lenses,” says Juhasz. “And in particular, the 

impacts on people on the ground and what 

their experiences were, what their stories 

were, what their struggles were, and to 

report from this full 360-degree lens.” 

As the climate crisis worsened, the scope 

of Juhasz’s reporting widened to focus on 

climate and energy more broadly to address 

the scope of both the problem and the 

various environmental justice movements 

working towards solutions. 

Writing “Sustainable Solutions to the 

Climate Crisis” provided her with a refreshing 

opportunity to focus fully on solutions. 

Although Juhasz includes the perspectives 

of people on the frontlines who are pushing 

back, in her writing there is often limited 

opportunity to include their solutions. 

“I so often feel it is important to 

explain and hold to account things that 

have gone wrong and bad actors and 

bad outcomes,” says Juhasz. “But it really 

behooves us to spend the same amount of 

time and attention, if not more, on all of 

the incredible work that people are doing, 

Antonia Juhasz reporting for Newsweek on local 

Indigenous resistance to Shell's offshore oil plans. 

On the tip of the Alaskan Arctic in Wainwright. 

Photo© 2015 Gary Braasch 

to put forward the solutions and actively 

living the solutions.” 

The interviewees in “Sustainable 

Solutions to the Climate Crisis,” women of 

color on the frontlines of the energy and 

climate crisis, were keen to focus on that. 

Each reiterated that they have solutions 

to the climate crisis, but far too often their 

voices are not heard, or when they are, they 

are not supported with funding or policy to 

make these changes or to keep bad actors from 

interfering with what they are already doing. 

Juhasz hopes to leave readers knowing that 

we have the solutions to confront the climate 

crisis, as well as the inspiration and resources to 

get involved in implementing them. 


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