The Wakhan Corridor

The Wakhan Corridor is a slender area in the far north-eastern Afghanistan which forms a land link between Afghanistan and China. The corridor was a political creation of the Great Game, and a result of agreements between Britain and Russia in 1873 and between Britain and Afghanistan in 1893. It currently has 12,000 inhabitants, who live very much the same as their ancestors did centuries ago.

In 2011, inspired by an article published by the New York Times, Fabrice Nadjari and Varial, two 33 year-old authors, photographers and childhood friends, decided to embark on a journey in the Wakhan region. It is here that they decided to take photographs of the inhabitants of the Wakhan villages. The portraits made with their Polaroid cameras developed odd hues, and their quality deteriorated quite rapidly due to the altitude.

The photographers also produced the Traces of Time book project (to be published in May 2012) which they claim "presents a vision between a current and tangible printed reality that already ceases to exist and an uncertain present resembling the past. This is the perspective of travellers who steal a snapshot of life and leave behind a trace that could change the lives of those they've passed."

As is seen in the trailer (listen to the haunting soundtrack!!) above, the photographers convinced Ismaili children, young women, and housewives, opium smokers, village chiefs and simple peasants to pose for their Polaroid cameras.

The show Wakhan, An Other Afghanistan will be featured at the MILK Gallery, 450 West 15th Street in New York (May 18-23, 2012).

The Afghan Box Camera Project

Photo Courtesy The Afghan Box Camera

I was very glad to have stumbled on The Afghan Camera Box Project website a few days ago. For quite a while I had given up on posting anything to do with Afghanistan, since the photographs published in various media were either repetitive, unimaginative, stereotypical or plain silly....but this website touches on culture and photography.

The purpose of the Afghan Box Camera Project is to provide a record of the kamra-e-faoree (which in Dari and also in Arabic means 'instant camera') which as a living form of photography is on the brink of disappearing in Afghanistan. It's one of the last places where photographers continue to use a simple type of "instant camera" to make a living. The hand-made wooden camera is both camera and darkroom, and generations of Afghans have had their portraits taken with it, usually for identity photographs.

The project is the work of Lukas Birk and Sean Foley.

The railway station of the Cairo suburb where I grew up had a wooden camera photographer, and I recall (dimly, I admit) had a brisk business. I also came across a wooden camera photographer in Havana, Cuba who showed me how he developed the photograph he made of me.

Two of my friends, Divya Dugar and Frances Schwabenland have produced work on wooden cameras being used in Jaipur in Rajasthan, while Rodrigo Abd has produced Mayan Queens with a 19th century wooden camera of the indigenous women competing to become the National Indigenous Queen of Guatemala.

Darkness Visible Afghanistan

I occasionally post on projects that I believe ought to be supported by the public at large, and one such project is Darkness Visible Afghanistan by photojournalist Seamus Murphy, whose aim is to raise $10,000 to create a documentary movie based on his many years traveling and photographing in Afghanistan.

"My mission is to promote an understanding of this mysterious, complex and fascinating culture."

Seamus Murphy has been photographing Afghanistan since 1994. He published a book, also titled A Darkness Visible: Afghanistan, as a chronicle of the country and its people over those tumultuous years. For two decades, Seamus has also worked extensively in the Middle East, Asia, Africa, Latin America and most recently, America. He has won 7 World Press Photo Awards and a World Understanding Award (POYi) for his work from Afghanistan.

Of the book Darkness Visible, Afghanistan, Philip Jones Griffiths wrote that "Seamus Murphy was a poet with a camera who captured the essence of life in one of the oldest countries in the world. It is a humanistic view of a misunderstood country and a rare glimpse into the nation's soul."

Many of the documentaries on Afghanistan that I've read about are focused on war, on the Taliban and its excesses...so I'm happy to dedicate a post to Mr Murphy's project...a documentary that hopes to promote its culture, its history and its people.

Omar Mullick: See No Evil

Photo © Omar Mullick-Courtesy Foreign Policy Magazine

Foreign Policy magazine has featured See No Evil,  the work of Omar Mullick in Afghanistan, which was largely made with iPhones and using the Hipstamatic app. When Mullick's embed with the US Army ended, he proceeded to make trips in and outside of Kabul, documenting the lives of ordinary Afghans affected by the grim toll of war. The images in this gallery are from his travels during six weeks from March and April 2011.

Omar Mullick was born and raised in London, and studied politics, philosophy, and economics at the University of Pennsylvania. He lives in New York. He spent six years in fashion photography and the film industry, shooting music videos and commercials before turning to documentary photography. He has received fellowships and awards from the M100 Foundation, the Western Knight Center for Journalism, and the Annenberg Foundation.

Perhaps I'm old hat, but I'm still ambivalent about the fad of using the iPhone by photojournalists to document conflicts. My ambivalence is for purely aesthetic reasons...I'm still of the view that documenting conflicts (especially) needs to be as "pure" as possible, without being tainted by manipulative processing. An iPhone with Hipstamatic and similar software certainly produce interesting images and that, I suppose, is what counts for many photographers.

PS: I've recently noted that even David Alan Harvey seems to have a lot of fun with Instagram photography...but so far these are personal snaps.

Simon Norfolk: Afghanistan

"This current war is tragedy, is an imperial game, is a folly...

Following the welcome demise of Bin Laden, I thought it timely to feature photographs or a multimedia essay on Afghanistan. I didn't want it to be of the conflict, or some other cliches, so this short movie on Simon Norfolk's Afghanistan project seemed much more appropriate.

In October 2010, Simon Norfolk began a photo series of Afghanistan, influenced by the work of 19th-century British photographer John Burke. Norfolk’s photographs of "modern" Kabul is presented along with Burke’s original portfolios.

Norfolk is critical of the Afghanistan war and of journalists who report from the safety of armored compounds, and especially of photographers who travel around Kabul with a security details. He was told on his arrival that he couldn't photograph freely in Kabul except with bodyguards, but he did.

The accompanying audio is really wonderful. The Afghan music and songs are hauntingly beautiful, and the call to prayer (towards the end of the piece) accompanied by pictures of Kabul at dawn may give you goosebumps.

A welcome change from the depressingly unimaginative photojournalism work we see out of Afghanistan.

Matthieu Paley: Prisoners of the Himalaya

I've featured the extraordinary work of Matthieu Paley a number of times on The Travel Photographer blog already, and while my favorite is still his work on a Sufi festival honoring Hazrat Lal Shahbaz Qalandar in Pakistan, it's also this recent ongoing film project "Prisoners of the Himalaya" that is equally remarkable. It's a documentary film aimed at capturing the life of the last Kyrgyz nomads of Afghanistan.

Matthieu returned to the Afghanistan's Pamir mountains to cooperate in the production of his first movie, along with Louis Meunier (as Director of the project) and others.

When you finish viewing the above trailer, drop by the movie's main website The Roof of the World which gives you more background to the project, and lists the team members that were involved in its making. Also spend time exploring Matthieu's website, and his unique galleries. You certainly will not regret it.

Currently based in Istanbul, Matthieu photographs explore themes of remoteness and isolation in geopolitically sensitive areas, and his work has appeared in Géo, National Geographic Adventure, Newsweek, Time, Outside, Discovery, Vanity Fair and Figaro among others. He has collaborated on numerous books. Since 1999, he travels extensively throughout the mountainous regions of Pakistan, Afghanistan, Northern India and Central Asia.

His photographs have been exhibited in galleries in New York, Hong Kong and Munich, and his multimedia presentations were projected at festival such as the Perpignan Photojournalism festival, the Banff Mountain Festival, and MountainFilm in Colorado. He has lectured at the Royal Geographical Society and the Asia Society in Hong Kong, at the Grand Bivouac Festival in France as well as at the Vancouver Mountain Festival.

POV: Omid And Why We Will Never Win

Photo © Michael Kamber- Courtesy The New York Times

Michael Kamber is a well known New York City-based freelance writer and photographer for The New York Times. He worked in West Africa, the Middle East and the Caribbean, covering conflicts in the Ivory Coast, Congo, Liberia, Haiti, Afghanistan and Iraq. Apart from frequently-published photo essays in The New York Times, he also authors a journal of his Afghanistan experiences. Its entries began in December 2010 and appear on the newspaper's LENS blog.

His latest entry -along with over a dozen of his excellent photographs- is on yesterday's LENS blog under the title of Deeper Into Fathomless Afghanistan, and reading Michael's journal entries, I was compelled to leave a comment on the blog.

Here's one of the entries in Michael's journal that prompted my comment:

He writes:

Beside me, an Afghan, clearly an interpreter, introduces himself in accented English as Bob.

“What’s your real name?” I ask him.

“My name’s Omid. But on the first day at this job, the sergeant asked me my ‘terp’ name. I told him: ‘I don’t have a terp name. My name is Omid.’

”Omid is too complicated for us to remember,’ he told me. ‘From now on, your name is Bob.”

My comment on the LENS blog:

"It's too bad that the guy who uttered this insulting and ignorant nonsense to the interpreter hasn't realized that he's insulting Omid by his stupidity and arrogance. What if the roles were reversed, and the Afghan was to tell a Robert that this name didn't roll off his tongue easily, and he'd be called Mohammed from now on? How would Robert feel?

Omid's is entitled to be proud of his name...it probably has a long lineage...and since we are occupying his country, we ought to show immense respect to those who risk their lives for a few dollars a day and work with the US army. Learning how to pronounce their names is the civil and respectful thing to do. Omid is not a stray pet adopted by the sergeant.

My hat's off to Mr Kamber for quoting this and other statements in this piece...i'm sure he's as dismayed as I am by them."

Reading the other entries added to my long standing pessimism; we will never win. When we are unable (or unwilling) to respect people who help us by risking their lives, we will gain no allies unless we abet their corruption. They, in turn, view our presence in Afghanistan as a cow to be milked, and eventually will stab us in the back.

Another thing. Just look at the expression of the Afghan in Kamber's photograph above this post. He's holding a copy of a Chicken Soup For The Soul given to him by a well-meaning US charity. Who dreamed of sending a collection of "inspirational" platitudes (and in English) to Afghanistan? I obviously can't speak for this Afghan, but I bet he looked at the book with amusement, and eventually guffawed with his friends at the naivete of the Americans.

Chicken Soup For The Soul to change Afghanistan? The mind boggles.

Addendum:  I've received a few emailed comments on this post.

One from a frequent reader of this blog who suggests that my post came across as anti-military. That's incorrect. I am anti-war...especially wars that are unnecessary like the Iraq war, and those wars that devolved into aimless havoc and propping an unsupportable government, like the war in Afghanistan...and the least we -and our military- can do is respect those Afghans or Iraqis who work for us, at the risk of their lives.  I'm hopeful the individuals depicted in Mr Kamber's journal are the exception.

The other email comments from a handful of readers agreed with my point of view.

VII: Franco Pagetti: Afghanistan's Agony

The exciting VII The Magazine features Afghanistan' Agony, the multimedia work of Franco Pagetti which combines movies, stills in both color and black & white.

Although I'm getting tired of war stories and its imagery, Pagetti manages to infuse this work with his own personality as when he says (I paraphrase) in his Italian accent"...the only thing a photographer really wants...more than life, more than sex...more than anything...is to be invisible." Brilliant!

This multimedia piece provides a very realistic of what Afghanistan must be...it merges color stills with black & white images (which, in my view, are the best of the lot), aerial shots and movie footage.

Overall a very well done production, but if I had to point out a niggling issue, I'd say the decision to include the audio introduction of a muezzin's call to prayers is a lazy one. The Taliban, the insurgents, and the rest of the "bad guys" are fighting us because of a bunch of reasons. Take your pick: because we're occupying their country, because we're defending an unrepresentative corrupt regime, because we're getting in the way of various longstanding tribal and/or ethnic power struggles, and because we're tying to eradicate poppy cultivation...subsistence to many Afghan farmers.

It would have been smarter to find another audio clip to give the project the required sense of the place...perhaps a Pashto song, perhaps some ambient audio of Kabul's market chatter. Some readers might see this as nit-picking, but it's not. Avoiding religious cliches is a much more intelligent production effort and in this case, keeps it honest and neutral as it should be.

Franco Pagetti has covered the conflict in Iraq since January 2003. He has been a news photographer since 1994, and most of his recent work has involved conflict situations. His non-conflict news photography has included assignments in India, the Vatican City, Cambodia, Laos, Indonesia, Saudi Arabia and his native Italy. In his “former life,” he was a fashion photographer for Italian VOGUE and taught chemistry at Milano’s University .

POV: FP Magazine: Talibanistan

Foreign Policy Magazine has featured an interesting photo/graphical essay on the war in Afghanistan. It's titled Inside Talibanistan, and effectively makes the point that our "enemies" are not a monolithic entity, but a combination of disjointed groups with different agendas and ideologies.

According to our media and politicians, who have the talent of diminishing everything down to simplistic terms in the hope of further dumbing down its viewers, listeners, constituents and readers, we are fighting against the "Taliban"...the problem is that the Taliban (as defined by our talking heads, politicians and their cronies) doesn't exist as such. 

In FP's feature, I've counted 10 groups ranging from Al-Qaeda to some group called Haqqani Network, and added up the estimated members of these groups. Most of them are obviously estimates, but a total of 100,000 seems to be a reasonable one. Possibly included in these numbers are insurgents fighting against an occupying foreign force propping up a deeply unpopular corrupt government....and others who want nothing but power.

To put this in perspective, here's Cost of War which runs a counter for how much the wars in Iraq and Afghanistan are costing us. It's an estimated $1.1 trillion to date.

We would have been so much better off by creating jobs, building modern infrastructure, state of the art trains and airports, new schools, invest in medical research, in alternative energy sources...and taking on China's growing economic power. My politics are diametrically opposed to the Republican Party and its legitimate and illegitimate spawns, but this ad by one of its affiliated group did strike a chord with me....yes, it's obviously over the top but there's still a kernel of truth in it. We are losing ground very quickly to China.  (The video is via FP).

VII's Seamus Murphy: Phoenix Afghanistan

“Photography is part history, part magic.”
-Seamus Murphy

Here's a multimedia piece published by VII The Magazine with stills and audio by Seamus Murphy titled Phoenix Afghanistan.

Seamus began photographing in Afghanistan in 1994, and for two decades, he has worked extensively in the Middle East, Asia, Africa, Latin America and most recently America on an ongoing project during what he calls “a nervous and auspicious time.” His accolades include six World Press Photo Awards.

Phoenix Afghanistan compares photographs of life in Kabul from 1994 to photographs in 2010. You'll notice that the 1994 photographs are in black & white, whilst those of 2010 are in color, thereby enhancing the contrast between the two eras.

I wish I hadn't found found the narrative by Seamus to be so stilted...he was probably reading off a sheet of paper rather than having a conversation or reminiscing aloud. Same like good photography, compelling narration is a difficult skill to learn, and requires training.

TIME: Soldiers' Tattoos In Afghanistan

Photo © Mauricio Lima /AFP/Getty Images-All Rights Reserved
It's really time to leave Afghanistan when magazines start publishing inconsequential and silly photo essays as the one just featured by TIME's website. It's titled Soldiers' Tattoos in Marjah, and is by Mauricio Lima.

The photo essay shows about 10 images of US soldiers showing off tattoos of various illustrations, religious messages and excerpts from the Bible amongst others. The one above is of Lance Corporal Daniel Weber, and the caption reads as follows: "The Arabic inscription on Weber's bicep translates to "unfortunate soldier."

No, it doesn't. It reads "Al Nafs Al Mahzouza", which means "the fortunate soul" in English. So quite different in its intent. If Weber wanted the tattoo to read "unfortunate soldier", he may want to go back to the parlor that did this, and ask for his money back. Although Arabic is not one of Afghanistan's languages, the script is nicely done.

This captioning error is made either by some clueless soul (a summer intern?) at TIME Magazine, or through careless translation in Marjah. In this particular case, it's an irrelevant mistake....but I shudder to think how much important information is misunderstood or even lost through careless translation by American or Afghanistan individuals.

Why did I bother to mention it here? Well, a photo essay about soldiers' tattoos appears in a national and international magazine, and we still wonder why photojournalism is where it is today? Aren't there more interesting stories in Marjah?

Update: My thanks to Ciara Leeming who just messaged me saying that the caption was changed a few moments ago to this: The Arabic inscription on Weber's bicep translates to "lucky self."

It's still inaccurate, but much closer than the original. Do the TIME staffers read my blog?

Matthieu Paley: The Pamir Mountains

Here's a 6 minutes trailer from a multimedia documentary "Forgotten on the Roof of the World" by photographer Matthieu Paley and anthropologist Ted Callahan that tells the story of a little-known tribe of Kirghiz nomads in one of earth’s most remote regions - Afghanistan’s High Pamirs mountains.

The full documentary will be screened by Matthieu at the Royal Geographical Society (Hong Kong) on Tuesday 22nd of June.

Matthieu Paley is an Asia-based (currently based in Hong Kong) photographer specializing in editorial and documentary photography. His work appeared in Geo, National Geographic, Newsweek, Time, Outside, Discovery and various others.

NYT's LENS: A.K. Kimoto

Photo © A.K. Kimoto-All Rights Reserved
The New York Times' LENS blog features a poignant photo essay on opium addiction in Afghanistan by the late A.K. Kimoto. The photo essay is in black & white; dark and brooding as befits such a subject matter. See it...I highly recommend it, along with its accompanying article.

Kimoto was a 32-year-old Japanese photographer based in Bangkok, who died in March while traveling to Australia.

He spent years photographing families in the remote northeastern mountains of Afghanistan, controlled by the Taliban. He roamed remote settlements in Badakhshan, Afghanistan, to find out why so many of the inhabitants (even the young) had become addicted to opium. As Emily Anne Epstein explains in the piece: "The poverty in this region is so harsh that parents blow opium smoke into their children’s noses to soothe the pangs of hunger."

A.K. Kimoto wrote:

“I offer to transport the mother and child to a clinic. One of the elders cuts me off before I can finish my thought. He smiles gently as he tells me that the child would never survive such a journey in the cold rain, and anyway, this way of life and death have been repeated for centuries in these mountains.”

Coincidentally, the New York Times reported yesterday that the United States has discovered nearly "$1 trillion" in untapped mineral deposits in Afghanistan, which translates into approximately $35,000 for every inhabitant of the country. Naturally, massive investments will be required to mine these deposits, but in any event there's little chance that the poor of Badakhshan will see their lives improve from this eventual wealth. Cronyism, and venal corruption are endemic to the region...and only those with the power and connections will reap the benefits.

NPR: Sebastian Junger On 'War'

The arm-chair warriors amongst us will like this post on NPR:

"Five times between June 2007 and June 2008 the writer Sebastian Junger traveled to a remote Army outpost in the Korengal Valley in Afghanistan. Junger, a contributing editor for Vanity Fair, made the trip to embed with a company of soldiers from the Army's 173rd Airborne brigade as they fought to keep the Taliban from controlling a small, treacherous plot of land."

I have yet to read all of the article and listen to the excerpts, but I can easily predict that a book such as this one, and its supporting hoopla, glorifies war.

On my flight back to NYC, I tried to watch "The Hurt Locker"...5 minutes into the movie, I turned it off. Is it eyeball fatigue from all the war coverage since 2001 or is it moral disgust...or is it both?

One Shot: Kate Holt

Photograph © Kate Holt-All Rights Reserved
I'm severely pressed for time, so this post will unfortunately be short in prose but hopefully not in substance.

I just thought to showcase this magnificent photograph by Kate Holt of an Afghan woman holding a malnourished infant at a therapeutic feeding center in Kandahar.

Kate is a news and features photographer, covering events throughout Africa and Afghanistan.

PS. Being tall, I'm quite fond of environmental photographs of that type, which tell a story from "above". Many photojournalists/photographers seem to prefer frontal views for obvious reasons, but in this case where faces are covered, Kate's choice of vantage point is just perfect.

Frontline: Dancing Boys of Afghanistan

On Tuesday night, I watched the harrowing Frontline: The Dancing Boys of Afghanistan which exposed an ancient practice know as as "bacha bazi" which, literally translated, means 'boys' play'.

This illegal practice exploits orphans and street boys, and has been revived by powerful warlords, businessmen and military commanders in Afghanistan. These men dress the boys in women's clothes, who are trained to sing and dance for their enjoyment. The dancing boys are also used sexually by these men.

This is outstanding journalism by Afghan journalist Najibullah Quraishi, and my hat's off to PBS and to the Frontline producers for doing such an admirable job. I was particularly impressed by Quraishi and his producers' attempts to arrange the rescue of one of the dancing boys profiled in the film, an 11-year-old boy bought from an impoverished rural family.

In contrast with other productions (see my post of yesterday, for instance) the 11-year boy's face was blurred throughout the film to preserve his anonymity and self-respect.

Homosexuality is forbidden in Islam, and yet pederasty and boy concubinage has had a long history in the Persian cultural world which includes much of Afghanistan.

Julie Jacobson: Afghans' Opium Addiction

Photo © Julie Jacobson/AP-All Rights Reserved
It is estimated that Afghanistan supplies nearly all the world's opium, the raw ingredient used to make heroin, and while most of the deadly crop is exported, enough remains in it to feed a cycle of addiction among its population. It's also estimated there are at least 200,000 opium and heroin addicts in Afghanistan.

It's a fact of life that many rural areas in Afghanistan have no access to basic medicine such as aspirin, so whenever a villager needs a painkiller for a minor ailment, they are given opium instead.

Julie Jacobson is an Associated Press Writer and Photojournalist, who produced a video on opium addiction amongst a family in Afghanistan. In many of Afghanistan's remote mountain villages, opium addiction has infected toddlers to old men.

Julie has also written an interesting article published by Nieman Reports titled Crossing The Line: From Still To Video, which includes these four main guidelines:

"Some moments should be captured in photographs only. With those, be true to your photography and don’t worry about video."

"Remain as true to your photography while capturing video imagery. Make good “pictures” in your video".

"Some moments and events clearly call for video. But it isn’t possible to be everywhere and to get everything, so don’t try".

"When shooting stills and video, anticipate moments carefully. If they’re not there or time doesn’t permit, then make sure to be complete in shooting only one or both will suffer."

A worthwhile read to photographers and photojournalists facing this transition.

Ashley Gilbertson: Bedrooms of the Fallen

The New York Times Sunday Magazine has featured The Shrine Down The Hall: Bedrooms of America's Young War Dead, a powerful photo essay in slideshow format by photographer Ashey Gilbertson (VII Network), which looks at some of the empty bedrooms of the over 5000 U.S. military personnel killed in the wars of Iraq and Afghanistan.

Dexter Filkins starts his accompanying article with the words "Just kids". The ages of these military fallen range from 19 to 25...indeed, just kids.

George McGovern in 1969 speaking about Vietnam said:

"I'm fed up to the ears with old men dreaming up wars for young men to die in".

Now of course, it's also women who die in combat, as indeed Karina Lau did. Her bedroom still has a stuffed teddy bear and floppy-eared rabbit on top of her floral bedspread. She was killed seven years ago when insurgents shot down her helicopter in Falluja, Iraq. She was 20 years old.

In my view, this slideshow should be mandatory viewing by every politician who supported our senseless wars in Iraq and Afghanistan.

I just read that George W. Bush is visiting Haiti. How about visiting these bedrooms first?

Foreign Policy Magazine: Photo Essays

Photo © Antonin Kratochvil/VII -All Rights Reserved
I didn't realize that the website of the venerable Foreign Policy Magazine was following in the footsteps of other media by featuring large sized photographs. These photo essays generally follow FP's international focus, such as The Shooting War, an exclusive collection of work by well-known conflict photographers who explain how they captured the photographs.

While I'm getting tired of repetitive and predictable war photographs, whether from Iraq or Afghanistan, I thought this collection did a good job in featuring a handful of photographers who've been published in various publications over the past few years. The captions add some meat to the bones...inasmuch as they give some insight into what was in the photographer's mind at the time.

The Shooting War

Massimo Berutti: Afghan Vaccination

Photo © Massimo Berutti-All Rights Reserved
The Wall Street Photo Journal has featured a photojournalistic gem on its Photo Journal titled Vaccination Diplomacy of black & white photographs by Massimo Berutti.

In my view, it's a singular gem because it's not an Afghanistan reportage of foaming-at-the-mouth wild-eyed hirsute mujahideen aka jihadists aka Taliban (or whatever the mainstream media's stereotype flavor of the day is), isn't about a bloody military offensive or counter-offensive, and isn't about showing dead and maimed people we don't identify with and frequently demonize. No, it's about how the Taliban, Karzai's central government (corrupt as it it may be), Unicef and the World Health Organization are partnering in trying to eradicate polio through a wide ranging campaign.

This uneasy arrangement recognizes the Taliban stranglehold over large areas of Afghanistan, and the anti-polio campaigners are only welcomed in the villages if and when they show a letter signed by Mullah Mohammad Omar, the leader of the Taliban, which requests the people to cooperate. It seems that Mullah Omar promptly issues a new letter for every vaccination round, and the World Health Organization staff print thousands of copies, distributing them to the anti-polio volunteers.

So the power of reason and dialogue works, and the trite cliche of winning hearts and minds is effective after all!