Having known the Filipino photojournalist Alex Baluyut, who died yesterday aged 69, for nearly half a century, I feel that looking at his photos — how he documented the events that unfurled during his lifetime — reveals his own lifelong search for himself.

By documenting the rawest parts of human existence, including war, poverty, and the shifting tides of our history, he was reconciling his own place within those same struggles.

Whether on the frontlines of conflict in Mindanao or the troubled streets of Metro Manila, he wasn’t just looking for a story; he was searching for a sense of truth.

​I first knew Alex when he was a photographer for the Associated Press. In those days, film was expensive, but it was not a constraint for him.

Having the resources of a major agency gave him a distinct advantage over his colleagues. I noticed how he loved documenting every movement of a subject, while others were often content with a single “good shot” for the day’s coverage.

It surprised me when, after we were dismissed from the Times Journal for union work and were organising a new daily with the late Joe Burgos, Alex approached me and Chuchay Fernandez. He asked if he can join Pahayagang Malaya.

He didn’t focus on the economic difficulties of a struggling paper, but instead embraced the challenge of being part of the “Mosquito Press” during the darkest days of the Marcos martial law era, especially during the surge of outrage following the death of opposition leader Benigno Aquino.

​Risky coverage
Alex was not just focused on protest rallies, his main assignments then. Together, we planned risky coverage of the underground movement, which took us to dangerous locations, including Mindanao to cover the Moro secessionist rebellion.

During the 76-day war in Lanao del Sur, Alex was hesitant to leave even after we received reports of napalm bombing; he stayed until it became clear the site was impossible to reach.

On one occasion, we braved a torturous hike to reach a MILF (Moro Islamic Liberation Front) camp on the border of Lanao and Maguindanao to take the first-ever photos of their forces in formation at their own campsite.

Even then, I noticed a shift in Alex’s mood. His adrenaline was fueled by a drive to expose the plight of the aggrieved, a mission that eventually brought us to the countryside to cover the communist insurgency.

His photos were not always meant for the newspapers; they were documenting the struggle so that people might understand it. Eventually, the pressure of witnessing the stark truths of an armed struggle took its toll on him.

​Interestingly, the photos Alex provided me from his documentation of the underground movement did not show the stark reality of a rebellion, but rather the communities where he was immersed.

He was the best man at my wedding, and my only lament was that he failed to document the ceremony. Instead, he handed me and Merci a photo of a smiling Mangyan — a rare subject given his usual themes.

He told me it was his way of wishing us a happy life.

Mobile kitchen project
Alex also sought to chart a life beyond photojournalism. Driven by his love for cooking, he and some friends set up a small beer garden on the sidewalks of Ermita, which sparked his adventures in the restaurant business.

It was no surprise then that he eventually devoted his remaining years to serving the needy during calamities, co-founding the Art Relief Mobile Kitchen with his wife, Precious.

The news of Alex’s passing from cirrhosis of the liver stunned me, especially knowing the impact our late colleague Tony Nieva had on both of us. Tony also succumbed to the dreaded illness.He was our mentor in the struggle for press freedom and in documenting the lives of the downtrodden.

After Tony passed away, I rarely saw and worked with Alex, except for a few commissioned book projects.

Although I monitored his journey through social media and felt a sense of guilt for not joining his new advocacy, I am grateful to have been part of the life of a man who sought the truth in our ailing society and worked, in his own way, to lift the spirits of the marginalised.

Article by AsiaPacificReport.nz

Canadian photojournalist Valerie Zink has resigned after eight years with Reuters, criticising the news agency’s stance on Gaza as a “betrayal of journalists” and accusing it of “justifying and enabling” the killing of 245 journalists in the Palestinian enclave.

“At this point it’s become impossible for me to maintain a relationship with Reuters given its role in justifying and enabling the systematic assassination of 245 journalists in Gaza,” Zink said today via the US social media company X.

Zink said she worked as a Reuters stringer for eight years, with her photos published by many outlets, including The New York Times, Al Jazeera, and others worldwide.

She criticised Reuters’ reporting after the killing of Anas al-Sharif and an Al Jazeera crew in Gaza on August 10, accusing the agency of amplifying Israel’s “entirely baseless claim” that al-Sharif was a Hamas operative, which was “one of countless lies that media outlets like Reuters have dutifully repeated and dignified,” she said.

“I have valued the work that I brought to Reuters over the past eight years, but at this point I can’t conceive of wearing this press pass with anything but deep shame and grief,” Zink said.

Zink also emphasised that the agency’s willingness to “perpetuate Israel’s propaganda” had not spared their own reporters from Israel’s genocide.

“I don’t know what it means to begin to honour the courage and sacrifice of journalists in Gaza, the bravest and best to ever live, but going forward I will direct whatever contributions I have to offer with that front of mind,” Zink highlighted, reflecting on the courage of Gaza’s journalists.

“I owe my colleagues in Palestine at least this much, and so much more,” she added.

I can’t in good conscience continue to work for Reuters given their betrayal of journalists in Gaza and culpability in the assassination of 245 our colleagues. pic.twitter.com/WO6tjHqDIU

— Valerie Zink (@valeriezink) August 26, 2025

‘Double tap’ strike
Referring to the killing of six more journalists, including Reuters cameraman Hossam Al-Masri, in Israel’s Monday attack on the al-Nasser hospital in Gaza, Zink said: “It was what’s known as a ‘double tap’ strike, in which Israel bombs a civilian target like a school or hospital; waits for medics, rescue teams, and journalists to arrive; and then strikes again.”

Zink underlined that Western media was directly culpable for creating the conditions for these events, quoting Jeremy Scahill of Drop Down News, who said major outlets — from The New York Times to Reuters — had served as “a conveyor belt for Israeli propaganda,” sanitising war crimes, dehumanising victims, and abandoning both their colleagues and their commitment to true and ethical reporting.

She said Western media outlets, by “repeating Israel’s genocidal fabrications without determining if they have any credibility” and abandoning basic journalistic responsibility, have enabled the killing of more journalists in Gaza in two years than in major global conflicts combined, while also contributing to the suffering of the population.

The new fatalities among the media personnel in Gaza brought the number of Palestinian journalists killed in Israeli attacks since October 2023 to 246.

Israel has killed more than 62,700 Palestinians in Gaza since October 2023. The military campaign has devastated the enclave, which is facing famine.

Last November, the International Criminal Court (ICC) issued arrest warrants for Israeli Prime Minister Benjamin Netanyahu and his former Defence Minister Yoav Gallant for war crimes and crimes against humanity in Gaza.

Israel also faces a genocide case at the International Court of Justice (ICJ) for its war on the enclave.

Republished from Anadolu Ajansi.

Article by AsiaPacificReport.nz

COMMENTARY: By Caitlin Johnstone

Israel assassinated a photojournalist in Gaza in an airstrike targeting her family’s home on Wednesday, the day after it was announced that a documentary she appears in would premier in Cannes next month.

Her name was Fatima Hassouna. Nine members of her family were also reportedly killed in the bombing. She was going to get married in a few days.

The documentary is titled Put Your Soul on Your Hand and Walk, and it’s about Israel’s crimes in Gaza.

In an Instagram post from August of last year, Hassouna wrote the following:

‘If I die, I want a loud death. I don’t want to be just breaking news, or a number in a group; I want a death that the world will hear, an impact that will remain through time, and a timeless image that cannot be buried by time or place.’

Palestinian photographer Fatima Hassouna was killed, along with nine members of her family, in an Israeli airstrike that targeted their home in Gaza on Wednesday.

Hassouna, who had gained international recognition for her photojournalism documenting the impact of Israel’s… pic.twitter.com/y0FEJ60emH

— Middle East Eye (@MiddleEastEye) April 17, 2025

Hassouna said she viewed her camera as a weapon to change the world and defend her family, making the following statements in a video shared by Middle East Eye:

‘As Fatima, I believe that the image and the camera are weapons. So I consider my camera to be my rifle. So many times, in so many situations, I tell my friends, Come and see, it’s not bullets that we load into a rifle.

‘Okay, I’m going to put a memory card into the camera. This is the camera’s bullet, the memory card. It changes the world and defends me. It shows the world what is happening to me and what’s happening to others.

‘So I used to consider this my weapon, that I defend myself with it. And so that my family won’t be forgotten. And so I can document people’s stories, so that my family’s stories too don’t just vanish into thin air.”

‘I want a death that the world will hear’      Video/Audio: Caitlin Johnstone

Israel saw Hassouna’s camera as a weapon too, apparently.

As Ryan Grim observed on Twitter:

‘For this to have been a deliberate act — which it plainly was — consider what that means. A person within the IDF saw the news that Fatma’s film was accepted into Cannes. He/she/they then proposed assassinating her. Other people reviewed the suggestion and approved it. Then other people carried it out.’

Israel has been murdering a record-shattering number of journalists in Gaza while simultaneously blocking any foreign press from accessing the enclave because Israel views journalists as its enemy.

And Israel views journalists as its enemy because Israel is the enemy of truth.

Israel and its Western backers understand that truth and support for Israel are mutually exclusive. Those who support Israel are not interested in the truth, and those who are interested in the truth don’t support Israel.

That’s why the light of journalism is being aggressively snuffed out in Gaza while Israel massively increases its propaganda budget to sway public opinion.

It’s why journalists like Fatima Hassouna are being assassinated while the Western propaganda services known as the mainstream press commit journalistic malpractice to hide the truth of Israel’s crimes.

It’s why Western journalists are banned from Gaza while Western institutions are silencing, deporting, firing and marginalising those who speak out about Israel’s criminality.

Israel and truth cannot coexist. Israel’s enemies know this, and Israel knows this. That’s why Israel’s primary weapons are bombs, bullets, propaganda, censorship, and obstruction, while the main weapon of Israel’s enemies is the camera.

Fatima Hassouna’s death has indeed been heard. All these loud noises are snapping more and more eyes open from their slumber.

Caitlin Johnstone is an Australian independent journalist and poet. Her articles include The UN Torture Report On Assange Is An Indictment Of Our Entire Society. She publishes a website and Caitlin’s Newsletter. This article is republished with permission.

This article was first published on Café Pacific.

For nearly half a century, Papua New Guinea has been more than just a home for Laurence “Rocky” Roe — it has been his canvas, his inspiration, and his great love.

A master behind the lens, Rocky has captured the soul of the nation through his photography, preserving moments of history, culture, and progress.

He bid farewell to the country he has called home since 1976 in June 2021 and is now retired and living in Australia. We reflect on the extraordinary journey of a man whose work has become an indelible part of PNG’s visual history.

A journey born of adventure
Rocky Roe’s story began in Adelaide, Australia, where he was born in 1947. His adventure in Papua New Guinea started in 1976 when he arrived as a mechanical fitter for Bougainville Copper. But his heart sought more than the structured life of a mining camp.

In 1979, he took a leap of faith, moving to Port Moresby and trading a higher salary for a passion — photography. What he lost in pay, he gained in purpose.

“I wanted to see Papua New Guinea,” Rocky recalls. “And I got an opportunity to get paid to see it.”

Capturing the essence of a nation
From corporate photography to historic events, Rocky’s lens has documented the evolution of Papua New Guinea. He was there when leaders rose to prominence, capturing moments that would later adorn national currency — his photograph of Grand Chief Sir Michael Somare graces the K50 note.

His work went beyond the formal; he ventured deep into the Highlands, the islands, and bustling townships, preserving the heart and spirit of the people.

With each shot, he chronicled the changing landscape of Port Moresby. From a city of well-kept roads and modest housing in the 1970s to its present-day urban sprawl, Rocky witnessed and documented it all.

The evolution of photography
Rocky’s career spanned a transformative era in photography — from the meticulous world of slide film, where exposure errors were unforgiving, to the digital revolution, where technology made photography more accessible.

“Autofocus hadn’t been invented,” he recalls. “Half the world couldn’t focus a camera back then.” Yet, through skill and patience, he mastered the art, adapting as the industry evolved.

His assignments took him to mine sites, oil fields, and remote locations where only helicopters could reach.

“I spent many hours flying with the door off, capturing PNG from above. Looking through the camera made it all feel natural. Without it, I might have been scared.”

The man behind the camera
Despite the grandeur of his work, Rocky remains humble. A storyteller at heart, his greatest joy has been the connections he forged—whether photographing Miss PNG contestants over the years or engaging with young photographers eager to learn.

He speaks fondly of his colleagues, the friendships he built, and the country that embraced him as one of its own.

His time in Papua New Guinea was not without challenges. He encountered moments of danger, faced armed hold-ups, and saw the country grapple with law and order issues. Yet, his love for PNG never wavered.

“It’s the greatest place on earth,” he says, reflecting on his journey.

A fond farewell, but not goodbye
Now, as Rocky returns to Australia to tend to his health, he leaves behind a legacy that will live on in the countless images he captured. Papua New Guinea will always be home to him, and its people, his extended family.

“I may come back if someone brings me back,” he says with a knowing smile.

Papua New Guinea bids farewell to a legend, a visual historian who gave us the gift of memories frozen in time. His photographs are not just images; they are stories, emotions, and a testament to a life well-lived in the pursuit of beauty and truth.

Farewell, Rocky Roe. Your work will continue to inspire generations to come.

Independent Papua New Guinea journalist Malum Nalu first published this article on his blog Happenings in Papua New Guinea as part of a series leading up to PNG’s 50th anniversary this year. Republished with permission.

Article by AsiaPacificReport.nz

For Doddy Morris, a journalist with the Vanuatu Daily Post, the 7.3 magnitude earthquake that struck Vanuatu last month on December 17, 2024, was more than just a story — it was a personal tragedy.

Amid the chaos, Morris learned his brother, an Anglican priest, had died.

“My mom called me crying and asked, ‘Did your brother die?’. I wasn’t sure and told her I was heading to Vila Central Hospital right away,” he recalled.

Morris arrived at the hospital to confirm the worst. “My heart sank when I confirmed that my brother had indeed passed away. At that moment, I forgot about my job.”

Despite his grief, Morris joined his remaining brothers at the hospital mortuary that night, staying by their deceased sibling’s side and mourning together. “We were the only ones there. We spent the whole night drinking kava outside while he lay in the cool room,” he said.

The quake — which claimed 14 lives, injured more than 265 people, and displaced more than 1000 — left an indelible mark on Port Vila and its residents. Infrastructure damage was extensive, with schools, homes, and water reserves destroyed, and the Central Business District (CBD) heavily impacted.

In the days following the earthquake, Morris returned to his role as a reporter, capturing the unfolding crisis despite the emotional toll. “When the earthquake struck, I thought I was going to die myself,” he said. Yet, minutes after the tremor subsided, he grabbed his camera and rushed to the CBD.

At the heart of the destruction, he witnessed harrowing scenes. “I was shocked to see the collapsed Billabong building. A body lay covered with a blue tarpaulin, and Pro Rescue teams were trying to save others who were trapped inside,” Morris recounted.

The lack of a network connection frustrated his efforts to report live, but he pressed on, documenting the damage.

A month after the disaster, Morris continues to cover the aftermath as Vanuatu transitions from emergency response to recovery. “A month has passed since the earthquake, but the memories remain fresh. We don’t know when Port Vila will return to normal,” he said.

His photojournalism has been demonstrating the true impact of the earthquake as he continues to capture the mourning of a nation after such a tragic event.

The earthquake left deep scars, not only on the nation’s infrastructure but also on its people. “Unlike cyclones, which we can predict, prepare for, and survive, earthquakes strike without warning and show no mercy,” Morris said.

Through grief and uncertainty, Morris remains committed to his work, documenting the resilience of his community and the challenges they face as they rebuild. His reporting serves as a testament to the strength of both the people of Vanuatu and a journalist who continues to bear witness, even in the face of personal loss.

Reporting on his own community while grappling with personal loss is a reality for many Pacific Island journalists who cover disasters. For Doddy Morris, reporting on the traumatic events of the earthquake meant confronting his own grief while documenting the grief of others.

Dr Lagipoiva Cherelle Jackson is a Pacific journalism trainer with the Dart Center for Journalism and Trauma. She expresses her support for Morris and his colleagues in showing “extraordinary courage and resilience”. This article was first published by The New Atoll and is republished with permission.

Article by AsiaPacificReport.nz

For almost six decades photographer John Miller (Ngāpuhi) has been a protest photographer in Aotearoa New Zealand.

From his first photographs of an anti-Vietnam War protest on Auckland’s Albert Street as a high school student in 1967, to Hīkoi mō te Tiriti last week, Miller has focused much of his work on the faces of dissent.

He spoke of his experiences over the years in an interview broadcast today on RNZ’s Culture 101 programme with presenter Susana Lei’ataua.

Miller joined Hīkoi mō te Tiriti at Waitangi Park in Pōneke Wellington last Tuesday, November 19, ahead of its final walk to Parliament’s grounds.

“It was quite an incredible occasion, so many people,”  74-year-old Miller says.

“Many more than 1975 and 2004. Also social media has a much more influential part to play in these sorts of events these days, and also drone technology . . .

“I had to avoid one on the corner of Manners and Willis Streets flying around us as the Hīkoi was passing by.

“We ended up running up Wakefield Street which is parallel to Courtenay Place to get ahead of the march and we joined the march at the Taranaki Street Manners Street intersection and we managed to get in front of it.”

Comparing Hīkoi mō te Tiriti with his experience of the 1975 Māori Land March led by Dame Whina Cooper, Miller noted there were a lot more people involved.

“During the 1975 Hīkoi the only flag that was in that march was the actual white land march flag — the Pou Whenua — no other flags at all. And there were no placards, no, nothing like that.”

Article by AsiaPacificReport.nz

As Israel drives the Palestinians deeper into another Nakba in Gaza with its assault on Rafah, the Palestine Youth Aotearoa (PYA) and solidarity supporters in Aotearoa New Zealand tonight commemorated the original Nakba — “the Catastrophe” — of 1948.

This was when Israeli militias slaughtered more than 15,000 people, perpetrated more than 70 massacres and occupied more than three quarters of Palestine, with 750,000 of the Palestinian population forced into becoming refugees from their own land.

The Nakba was a massive campaign of ethnic cleansing followed by the destruction of hundreds of villages, to prevent the return of the refugees — similar to what is being wrought now in Gaza.

The Nakba lies at the heart of 76 years of injustice for the Palestinians — and for the latest injustice, the seven-month long war on Gaza.

Participants told through their stories, poetry and songs by candlelight, they would not forget 1948 — “and we will not forget the genocide under way in Gaza.”

Photographs: David Robie

Article by AsiaPacificReport.nz

As Israel drives the Palestinians deeper into another Nakba in Gaza with its assault on Rafah, the Palestine Youth Aotearoa (PYA) and solidarity supporters in Aotearoa New Zealand tonight commemorated the original Nakba — “the Catastrophe” — of 1948.

This was when Israeli militias slaughtered more than 15,000 people, perpetrated more than 70 massacres and occupied more than three quarters of Palestine, with 750,000 of the Palestinian population forced into becoming refugees from their own land.

The Nakba was a massive campaign of ethnic cleansing followed by the destruction of hundreds of villages, to prevent the return of the refugees — similar to what is being wrought now in Gaza.

The Nakba lies at the heart of 76 years of injustice for the Palestinians — and for the latest injustice, the seven-month long war on Gaza.

Participants told through their stories, poetry and songs by candlelight, they would not forget 1948 — “and we will not forget the genocide under way in Gaza.”

Photographs: David Robie

Article by AsiaPacificReport.nz

Palestinian photojournalist Motaz Azaiza, who has been documenting the impact of the war in the Gaza Strip, has left the enclave for Qatar and gave his first interview there with the Doha-based Al Jazeera global news channel.

Azaiza announced on Instagram yesterday that he was leaving the besieged enclave before boarding a Qatari military airplane at Egypt’s El Arish International Airport.

However, it was unclear how he was able to leave Gaza or why he had evacuated, reports Al Jazeera.

“This is the last time you will see me with this heavy, stinky [press] vest. I decided to evacuate today. … Hopefully soon I’ll jump back and help to build Gaza again,” Azaiza said in a video.

The 24-year-old Palestinian captured the attention of millions globally — including in the South Pacific — as he filmed himself in a press vest and helmet to document conditions during Israel’s war, which has killed more than 25,000 people in Gaza.

“Motaz Azaiza – A 24-year-old man from Gaza, in 108 days, did what CNN, Fox, the BBC, and all their ‘journalism’ predecessors refused to do for 75 years.

“Humanise a people!”

– Khaled Beydoun

Israel launched its offensive after Hamas attacked Israel on October 7, killing 1,139 people and taking more than 200 people captive.

Azaiza’s coverage often took the form of raw, unfiltered videos about injured children or families crushed under rubble in the aftermath of Israeli air strikes.

He said he has had to “evacuate for a lot of reasons you all know some of it but not all of it”.

In his post, he was seen on a video about to board a grey plane emblazoned with the words “Qatar Emiri Air Force”.

I’m at Al Jazeera studios where they are streaming.
حلل يا دويري pic.twitter.com/fWoABDKD3t

— MoTaz (@azaizamotaz9) January 24, 2024

“First video outside Gaza,” he said in one clip, revealing that it was his first time on a aircraft. “Heading to Qatar.”

He also shared a video of the inside of the plane as it landed in Doha.

Palestinian photojournalist Motaz Azaiza leaves Gaza after his “heroic” humanitarian reporting . . . “we are all Palestinian.” Video: Al Jazeera

Since the start of the war, the photojournalist has amassed millions of followers across multiple platforms.

His Instagram following has grown from about 27,500 to 18.25 million in the more than 108 days since October 7, according to an assessment of social media analytics by Al Jazeera.

His Facebook account grew from a similar starting point to nearly 500,000 followers. He now has one million followers on X, formerly known as Twitter.

As well as his social media posts, Azaiza has produced content for the United Nations Relief and Works Agency for Palestine Refugees (UNWRA).

I left Gaza with a broken heart and eyes filled with tears.
There was no other option after 108 days of continuous massacres against us.
It’s time to move somewhere else so I can do more work and I pray that I can be a reason to stop this war and help rebuild Gaza again.
I’ve… pic.twitter.com/kg3FwTi38d

— MoTaz (@azaizamotaz9) January 24, 2024

Social media users thanked Azaiza for his coverage of the war, many saluting him as a hero.

“Thank you for everything you have done, you have moved mountains, what you have done in the last 100 days people can’t do in their whole lifetime. You were a pivotal voice in showing the world the Israeli atrocities in Gaza. Wishing you well and safety,” one user said on X.

Another, Khaled Beydoun, wrote on Instagram, “Motaz Azaiza – A 24-year-old man from Gaza, in 108 days, did what CNN, Fox, the BBC, and all their ‘journalism’ predecessors refused to do for 75 years.

“Humanise a people!”

“I’m so glad you had the opportunity to get out, God willing, YOU WILL RETURN TO A FREE PALESTINE,” wrote another.

“We love you so deeply,” American musician Kehlani wrote, adding, “Thank you for your humanity.”

“Frame that vest. It’s the armor of one of history’s greatest heroes,” comedian Sammy Obeid said.

Pacific Media Watch sourced from Al Jazeera.

Article by AsiaPacificReport.nz

Frontline investigative articles on Aotearoa New Zealand’s 23-day Parliament protester siege, social media disinformation and Asia-Pacific media changes and adaptations are featured in the latest Pacific Journalism Review.

The assault on “truth telling” reportage is led by The Disinformation Project, which warns that “conspiratorial thought continues to impact on the lives and actions of our communities”, and alt-right video researcher Byron C Clark.

Several articles focus on the Philippines general election with the return of the Marcos dynasty following the elevation of the late dictator’s son Ferdinand “Bongbong” Marcos Jr and the crackdown on independent media, including Nobel Peace Prize co-laureate Maria Ressa’s Rappler.

Columbia Journalism School’s Centre for Investigative Journalism director Sheila Coronel writes of her experiences under the Marcos dictatorship: “Marcos is a hungry ghost. He torments our dreams, lays claim to our memories, and feeds our hopes.”

But with Marcos Jr’s landslide victory in May, she warns: “You will be in La-La Land, a country without memory, without justice, without accountability. Only the endless loop of one family, the soundtrack provided by Imelda.”

The themed section draws on research papers from a recent Asian Congress for Media and Communication conference (ACMC) hosted by Auckland University of Technology (AUT) introduced by convenor Khairiah A Rahman with keynotes by Asia Pacific Report editor David Robie and Rappler executive editor Glenda Gloria.

In the editorial titled “Fighting self-delusion and lies”, Philip Cass writes of the surreal crises in the Ukraine War and the United States and the challenges for journalists in the Asia-Pacific region:

“Similarly, there are national leaders in the Pacific who seem to truly want to believe that China really is their friend instead of being an aggressive imperialist power acting the same way the European powers did in the 19th century.”

With the Photoessay in this edition, visual storyteller and researcher Todd Henry explores how kava consumption has spread through the Pacific and into the diasporic community in Aotearoa New Zealand.

His “Visual peregrinations in the realm of kava” article and images also examine the way Pasifika women are carving their own space in kava ceremonies.

Unthemed topics include Afghanistan, the Taliban and the “liberation narrative” in New Zealand, industrial inertia among Queensland journalists, and Chinese media consumption and political engagement in Aotearoa.

Pacific Journalism Review, founded at the University of Papua New Guinea, is now in its 28th year and is New Zealand’s oldest journalism research publication and the highest ranked communication journal in the country.

The latest edition is published this weekend.

Article by AsiaPacificReport.nz

Foto-Reportaje | La furia de Chile tras el lente

Four young Chilean photographers lived the days of violence directly, documenting dramatic moments of social outbreak that still persist: a curfew, state of emergency, and the military on the streets in public security functions for the first time since the end of the dictatorship. More than a dozen dead, hundreds arrested and injured. COHA prepared a critical analysis on the meaning of the social crisis that Chile suffered this week of October, and also shares the photographic work of Luciano Candia, Loyka Manuelle, Luiseduardo Quijada and María Catalina Godoy.

Cuatro fotógrafos jóvenes chilenos vivieron la jornada de violencia directamente, documentando días de estallido social que aún persisten. Toque de queda, decreto de estado de emergencia, los militares en las calles por primera vez en funciones de seguridad pública desde el fin de la dictadura. Más de una decena de muertos, cientos de arrestados y heridos. COHA preparó un ensayo de análisis sobre el significado de la crisis social que sufrió Chile esta semana de octubre, y a continuación comparte el trabajo fotográfico de Luciano Candia, Loyka Manuelle, Luiseduardo Quijada y María Catalina Godoy.

[All images protected by copyright of their authors. Reproduction is not allowed without the author’s consent]

[Todas las imágenes protegidas por el derecho de autor de cada fotógrafo. Prohibido su uso sin autorización expresa del autor]

Luciano Candia. Instagram | @lcn_fotos

Loyka Manuelle. Instagram | @a.loyka

Luiseduardo Quijada | Instagram: @gualloo

Catalina Godoy | Instagram: @_artshoot

By Michael Andrew

A Pacific Media Centre collaborator has won the inaugural Sean Dorney Grant for Pacific Journalism at the 2019 Walkley Mid-Year Celebration.

Vanuatu-based Australian photojournalist Ben Bohane was awarded the $10,000 grant out of 22 applicants for his ongoing work in the Autonomous Region of Bougainville in Papua New Guinea.

According to academic and principal of TNC Pacific Consulting, Dr Tess Newton Cain, who helped establish the grant, the money will allow Bohane to spend a period of about four weeks in Bougainville as the people of that province prepare to cast their votes in an independence referendum on October 17.

READ MORE: Ben Bohane: China? No, let’s face the elephant in the Pacific room

“His was one of several proposals that focused on Bougainville,” she said.

Bohane has covered the Pacific for 30 years. His work has been both acclaimed and arresting and has featured photos and interviews from all South Pacific conflicts, including West Papua and East Timor.

He has the largest personal photo archive of the South Pacific in the world and two of his portfolios have featured in Pacific Journalism Review.

While travelling and living with tribal groups in the Solomon Islands in the early 1990s, he was able to secure the first pictures of Bougainville Revolutionary Army leader Francis Ona and the only interview and pictures of Guadalcanal warlord Harold Keke.

Civil War coverage
“Ben has been covering Bougainville for many years, including during the civil war period,” Newton Cain said.

“It was in Bougainville that he and Sean Dorney first met.”

Grant namesake Sean Dorney is an Australian journalist and foreign correspondent who covered Papua New Guinea and the Pacific for 40 years.

The grant was sponsored in recognition of his huge contribution and the importance of getting the real stories of the Pacific and of Pacific people in front of Australian audiences, Newton Cain said.

“I hope this grant will go some way to stimulating an interest in the Australian media to tell their audiences more and better stories about the countries in their immediate region.”

“Next to seeing this grant awarded, the best news I could hear is that an editor has said to one of the unsuccessful applicants “that Pacific story you pitched is an important one, we are going to do it anyway.””

Award recipients in other categories included Oliver Gordon who won the Walkley Young Australian Journalist of the Year for his ABC investigation: The Black & White Hotel: Inside Australia’s Segregated Hotel Rooms.

Another was Laura Murphy-Oates who won the Public Service Journalism award for her SBS story exploring historical abuses against Aborigines. 

A dozen other journalists won awards for coverage ranging from the Australian African community to the gender disparity in the Australian theatre.

The full list can be found at the 2019 Walkley Mid-Year Celebration website.

• Michael Andrew is contributing editor of the PMC’s Pacific Media Watch project.

Article by AsiaPacificReport.nz

Pacific Media Centre’s Del Abcede was on the ground for last Sunday’s “love not hate” rally  with about 2000 people marching down Auckland’s Queen Street in solidarity with the victims and survivors of the Christchurch mosque terrorist attack earlier this month.

Scores of children were among the marchers with placards declaring “Stand up to Islamophobia”, “Peace, love”, “Denying racism is racism”, “Dismantle white supremacy” and “Migrants are welcome, fascists are not”.

Fifty worshippers were killed by a lone gunman with assault weapons in an attack on two mosques in Christchurch on March 15. New Zealand has now banned assault and semi-automatic weapons.

Love Aotearoa Hate Racism

1. “Stand up” school children at the “Love Aotearoa Hate Racism” (LAHR) rally in Auckland on Sunday. Image: Del Abcede/PMC

2. LAHR rally in Auckland. Image: Del Abcede/PMC

3. LAHR rally in Aucland. Image: Del Abcede/PMC

4. LAHR rally in Auckland. Image: Del Abcede/PMC

5. LAHR rally in Auckland. Image: Del Abcede/PMC

6. LAHR rally in Auckland. Image: Del Abcede/PMC

7. LAHR rally in Auckland. Image: Del Abcede/PMC

8. LAHR rally in Auckland. Image: Del Abcede/PMC

9. LAHR rally in Auckland. Image: Del Abcede/PMC

10. LAHR rally in Auckland. Image: Del Abcede/PMC

11. LAHR rally in Auckland. Image: Del Abcede/PMC

12. LAHR rally in Auckland. Image: Del Abcede/PMC

13. LAHR rally in Auckland. Image: Del Abcede/PMC

14. LAHR rally in Auckland. Image: Del Abcede/PMC

15. LAHR rally in Auckland. Image: Del Abcede/PMC

16. LAHR rally in Auckland. Image: Del Abcede/PMC

17. LAHR rally in Auckland. Image: Del Abcede/PMC

18. LAHR rally in Auckland. Image: Del Abcede/PMC

19. LAHR rally in Auckland. Image: Del Abcede/PMC

20 LAHR rally in Auckland. Image: Del Abcede/PMC

21. LAHR rally in Auckland. Image: Del Abcede/PMC

22. LAHR rally in Auckland. Image: Del Abcede/PMC

23. LAHR rally in Auckland. Image: Del Abcede/PMC

24. LAHR rally in Auckland. Image: Del Abcede/PMC

25. LAHR rally in Auckland. Image: Del Abcede/PMC

26. LAHR rally in Auckland. Image: Del Abcede/PMC

27. LAHR rally in Auckland. Image: Del Abcede/PMC

28. LAHR rally in Auckland. Image: Del Abcede/PMC

29. Michael Bain at the LAHR rally in Auckland. Image: Del Abcede/PMC

30. LAHR rally in Auckland. Image: Del Abcede/PMC

31. LAHR rally in Auckland. Image: Del Abcede/PMC

32. LAHR rally in Auckland. Image: Del Abcede/PMC

33. LAHR rally in Auckland. Image: Del Abcede/PMC

34. Del Abcede (left) and Ruth Coombes at the LAHR rally in Auckland. Image: Del Abcede/PMC

Article by AsiaPacificReport.nz

By Global Voices

Late on the night of August 5, 2018, award-winning Bangladeshi photographer and activist Dr Shahidul Alam was forcibly abducted from his house in Dhanmondi, Dhaka, by 20 men in plainclothes, sparking protests from media freedom and human rights groups.

Alam is the founder of both the Drik Picture Library and the Pathshala South Asian Media Institute and a vocal journalist on issues related to rule of law and the public interest.

It was soon confirmed that a team of the Detective Branch (DB) of police had detained Shahidul from his residence, with the intention of interrogating him over his Facebook posts about ongoing student protests in the capital, Dhaka.

READ MORE: RSF protests over shocking press freedom violations during Bangladeshi student protests

Secondary school students of different educational institutions in the Bangladesh capital have taken to the streets since July 29 demanding improved road safety and rule enforcement, after two of their classmates were killed due to reckless driving by public bus. The students are also demanding justice for the victims.

Excessive police force
Shahidul Alam has been covering the ongoing student protests in Bangladesh in his Facebook and Twitter accounts and discussing the protests on Facebook Live.

-Partners-

More than one hundred students were injured over the weekend as the police resorted to excessive force, including firing rubber bullets and tear gas at thousands of peaceful student protesters.

The protests took a violent turn on August 4 when rumours of student protesters being kidnapped, raped and killed began to spread online, but independent media sources at the Dhaka Tribune along with students themselves and a fact-checking Facebook group called Jaachai (fact-check) have denounced these messages as false and debunked doctored photographs.

Nevertheless, many students came out to the streets to protest the deaths. Several violent confrontations between protesters and police have ensued since.

Mobs allegedly associated with Bangladesh’s ruling party have also attacked demonstrators and journalists who were covering the attacks.

Emergency medical teams say they have treated more than 100 protesters who have been injured.

In an attempt to curb rapidly-spreading rumors, mobile internet speed was brought down to a minimum level (2G) shutting down 3G and 3G broadcasts.

Angered authorities
Alongside his social media coverage of the protests, Alam apparently angered the authorities and the ruling party after he gave a TV interview on Sunday evening with Al Jazeera where he talked about the recent situation in Bangladesh and criticised the government.

Expat blogger Rumi Ahmed posted a transcript of the interview on Facebook. Here is an excerpt:

I think what we need to do is to look at what has been happening in the streets today. The police specifically asked for help from these armed goons to combat unarmed students demanding safe roads.

I mean how ridiculous is that? Today, I was in the streets, there were people with machetes in their hands chasing unarmed students. And the police are standing by watching it happen.

In some cases, they were actually helping them…

According to the latest reports, the police have received a seven-day remand to question Shahidul Alam in connection with an ICT Act case filed on August 6, 2018. He was taken to the court barefoot and barely able to walk.

He appears to have been beaten while in custody.

Exiled journalist Tasneem Khalil tweeted:

The police have not yet mentioned why he was detained but referred to the case which accuses him under section 57 of the ICT Act of “abusing” an electronic platform in order to spread “lies” among the population and with the intent to “invalidate and question” the government on the international stage, damage law and order, spread “fear and terror”.

The provisions of Section 57 of Bangladesh’s notoriously broad 2013 Information and Communication Technology Act of Bangladesh have been used to slap hundreds of lawsuits against journalists and online activists to curb the freedom of speech online over the past few years.

Blogger and activist Vaskar Abedin writes on Facebook:

Amnesty International has released a statement which read:

Asia Pacific Report republishes this article with permission under a Creative Commons licence.

Article by AsiaPacificReport.nz

Two damning and contrasting books about Indonesian colonialism in the Pacific, both by activist participants in Europe and New Zealand, have recently been published. Overall, they are excellent exposes of the harsh repression of the Melanesian people of West Papua and a world that has largely closed a blind eye to to human rights violations.

In Papua Blood, Danish photographer Peter Bang provides a deeply personal account of his more than three decades of experience in West Papua that is a testament to the resilience and patience of the people in the face of “slow genocide” with an estimated 500,000 Papuans dying over the past half century.

With See No Evil, Maire Leadbeater, peace movement advocate and spokesperson of West Papua Action Auckland, offers a meticulously researched historical account of New Zealand’s originally supportive stance for the independence aspirations of the Papuan people while still a Dutch colony and then its unprincipled slide into betrayal amid Cold War realpolitik.

Peter Bang’s book features 188 examples of his evocative imagery, providing colourful insights into changing lifestyles in West Papua, ranging through pristine rainforest, waterfalls, villages and urban cityscapes to dramatic scenes of resistance to oppression and the defiant displays of the Morning Star flag of independence.

Some of the most poignant images are photographs of use of the traditional koteka (penis gourds) and traditional attire, which are under threat in some parts of West Papua, and customary life in remote parts of the Highlands and the tree houses of the coastal marshlands.

Besides the photographs, Bang also has a narrative about the various episodes of his life in West Papua.

Never far from his account, are the reflections of life under Indonesian colonialism, and extreme racism displayed towards the Papuan people and their culture and traditions. From the beginning in 1963 when Indonesia under Sukarno wrested control of West Papua from the Dutch with United Nations approval under a sham “Act of Free Choice” against the local people’s wishes, followed by the so-called ‘Transmigrassi’ programme encouraging thousands of Javanese migrants to settle, the Papuans have been treated with repression.

‘Disaster for Papuans’
Bang describes the massive migration of Indonesians to West Papua as “not only a disaster for the Papuan people, but also a catastrophe for the rainforest, eartyn and wildlife” (p. 13).

“Police soldiers conducted frequent punitive expeditions with reference to violation of ‘laws’ that the indigenous people neither understood nor had heard about, partly because of language barriers and the huge cultural difference,’ writes Bang (p. 11). The list of atrocities has been endless.

“There were examples of Papuans who had been captured, and thrown out alive from helicopters, strangled or drowned after being put into plastic bags. Pregnant women killed by bayonets. Prisoners forced to dig their own graves before they were killed.” (p. 12)

A book that provided an early impetus while Bang was researching for his involvement in West Papua was Indonesia’s Secret War by journalist Robin Osborne, a former press secretary for Papua New Guinea Prime Minister Sir Julius Chan, the leader who was later ousted from office because of his bungled Sandline mercenary affair over the Bougainville civil war. Osborne’s book also influenced me when I first began writing about West Papua in the early 1980s.

After travelling through Asia, a young Peter Bang arrived in West Papua in 1986 for his first visit determined to journey to the remote Yali tribe as a photographer and writer interested in indigenous peoples. He wanted to find out how the Yali people had integrated with the outside world since missionaries had first entered the isolated tribal area just 25 years earlier.

When Bang visited the town of Angguruk for the first time, “the only wheels I saw at the mission station were punctured and sat on a wheelbarrow … It was only seven years ago that human flesh had been eaten in the area” (p. 16).

During this early period of jungle trekking, Bang rarely “encountered anything besides kindness – only twice did I experience being threatened with a bow and arrow” (p. 39). The first time was by a “mentally disabled” man confused over Bang’s presence, and he was scolded by the village chief.

Political change
Ten years later, Peter Bang again visited the Yali people and found the political climate had changed in the capital Jayapura – “we saw police and military everywhere” following an incident a few months earlier when OPM (Free Papua Movement) guerrillas had held 11 captives hostage in a cave.

He struck up a friendship with Wimmo, a Dani tribesman and son of a village witchdoctor and healer in the Baliem Valley, that was to endure for years, and he had an adoptive family.

On a return visit, Bang met Tebora, mother of the nine-year-old boy Puwul who was the subject of the author’s earlier book, Puwul’s World. At the age of 29, Puwul had walked barefooted hundreds of kilometres across the mountains from the Jaxólé Valley village to Jayapura, and then escaped across the border into Papua New Guinea. A well-worn copy of Puwul’s World was the only book in the village apart from a single copy of the Bible.

Years later, Bang met tribal leader and freedom fighter Benny Wenda who, with the help of Australian human rights activist and lawyer Jennifer Robinson, was granted asylum in the United Kingdom in 2003: “I felt great sympathy for Benny Wenda’s position on the fight for liberation. By many, he was compared to Nelson Mandela, although he was obviously playing his own ukelele” (p. 81)

Wenda and Filip Karma, at the time imprisoned by the Indonesian authorities for 15 years for “raising the Morning Star flag”, were nominated for the 2013 Nobel Peace Prize.

Bang founded the Danish section of the Free West Papua Campaign and launched an activist Facebook page.

One of the book’s amusing and inspirational highlights is his secret “freedom paddle” on the Baliem River when Peter Bang used a yellow inflatable rubber boat and a pocket-sized Morning Star flag to make his own personal protest against Indonesia (p. 123). This was a courageous statement in itself given the continued arrests of journalists in West Papua by the military authorities in spite of the “open” policy of President Joko Widodo.

As a special section, Bang’s book devotes 26 pages to the indigenous people of West Papua, profiling some of the territory’s 300 tribes and their cultural and social systems, such as the Highlands communities of Dani and Yali, and the Asmat, Korowai and Kombai peoples.

Fascinating insight
This book is a fascinating insight into West Papuan life under duress, but would have benefitted with tighter and cleaner copy editing by the English-language volunteer editors. Nevertheless, it is a valuable work with a strong sociopolitical message.

Peter Bang concludes: “Nobody knows what the future holds. In 2018, the Indonesian regime continues the brutal crackdown on the native population of West Papua.”

In contrast to Bang’s authentic narrative of life in West Papua, Maire Leadbeater’s See No Evil book – launched yesterday – is an activist historical account of New Zealand’s shameful record over West Papua, which is just as disgraceful as Wellington’s record on Timor-Leste over 24 years of Indonesian illegal occupation (tempered by a quietly supportive post-independence role).

Surely there is a lesson here. For those New Zealand politicians, officials and conservative journalists who prefer to meekly accept the Indonesian status quo, the East Timor precedent is an indicator that we should be strongly advocating self-determination for the Papuans.

One of the many strengths of Leadbeater’s thoroughly researched book is she exposes the volte-face and hypocrisy of the stance of successive New Zealand governments since Walter Nash and his “united New Guinea” initiative (p. 66).

“A stroke of the pen in the shape of the 1962 New York Agreement, signed by the colonial Dutch and the Indonesian government, sealed the fate of the people of West Papua,” the author notes in her introduction. Prior to this “selling out” of a people arrangement, New Zealand had been a vocal supporter of the Dutch government’s preparations to decolonise the territory.

In fact, the Dutch had done much more to prepare West Papua for independence than Australia had done at that stage for neighbouring Papua New Guinea, which became independent in 1975.

Game changer
Indonesia’s so-called September 30th Movement crisis in 1965 – three years after paratroopers had been dropped on West Papua in a farcical “invasion” – was the game changer. The attempted coup triggered massive anti-communist massacres in Indonesia leading to an estimated 200,000 to 800,000 killings and eventually the seizure of power by General Suharto from the ageing nationalist President Sukarno in 1967 (Adam, 2015).

As Leadbeater notes, the bloodletting opened the door to Western foreign investment and “rich prizes” in West Papua such as the Freeport’s Grasberg gold and copper mine, one of the world’s richest.

“New Zealand politicians and diplomats welcomed Indonesia’s change in direction. Cold War anti-communist fervour trumped sympathy for the victims of the purge; and New Zealand was keen to increase its trade, investment and ties with the ‘new’ Indonesia.” (p. 22)

The first 13 chapters of the book, from “the Pleistocene period” to “Suharto goes but thwarted hope for West Papua”, are a methodical and insightful documentation of “recolonisation” and New Zealand’s changing relationship are an excellent record and useful tool for the advocates of West Papuan independence.

However, the last two contemporary chapters and conclusion, do not quite measure up to the quality of the rest of the book.

For example, a less than two-page section on “Media access” gives short change to the important media role in the West Papuan independence struggle. Leadbeater quite rightly castigates the mainstream New Zealand media for a lack of coverage for such a serious issue. Her explanation for the widespread ignorance about West Papua is simplistic:

“A major reason (setting aside Radio New Zealand’s consistent reporting) is that the issues are seldom covered in the mainstream media. It is a circular problem: lack of direct access results in a dearth of objective and fully rounded reporting; editors fear that material they do receive may be inaccurate or misrepresentative; so a media blackout prevails and editors conflate the resulting limited public debate with a lack of interest.” (p. 233)

Mainstream ‘silence’
Leadbeater points out that the mainstream media coverage of the “pre-internet 1960s did a better job”. Yet she fails to explain why, or credit those contemporary New Zealand journalists who have worked hard to break the mainstream “silence” (Robie, 2017).

She dismisses the courageous and successful groundbreaking attempts by at least two New Zealand media organisations – Māori Television and Radio New Zealand – to “test” President Widodo’s new policy in 2015 by sending crews to West Papua in merely three sentences. Since then, she admits, Indonesia’s media “shutters have mostly stayed shut” (p. 235).

One of the New Zealand journalists who has written extensively on West Papua and Melanesian issues for many years, RNZ Pacific’s Johnny Blades, is barely mentioned (apart from the RNZ visit to West Papua). Tabloid Jubi editor Victor Mambor, who visited New Zealand in 2014, Paul Bensemann (who travelled to West Papua disguised as a bird watcher in 2013), Scoop’s Gordon Campbell, Television New Zealand’s Pacific correspondent Barbara Dreaver and Tere Harrison’s 2016 short documentary Run It Straight are just a few of those who have contributed to growing awareness of Papuan issues in this country who have not been given fair acknowledgement.

Also important has been the role of the alternative and independent New Zealand and Pacific media, such as Asia Pacific Report, Pacific Scoop (both via the Pacific Media Centre), West Papua Media and Evening Report that have provided relentless coverage of West Papua. Other community and activist groups deserve honourable mentions.

Even in my own case, a journalist and educator who has written on West Papuan affairs for more than three decades with countless articles and who wrote the first New Zealand book with an extensive section on the West Papuan struggle (Robie, 1989), there is a remarkable silence.

One has a strong impression that Leadbeater is reluctant to acknowledge her contemporaries (a characteristic of her previous books too) and thus the selective sourcing weakens her work as it relates to the millennial years.

The early history of the West Papuan agony is exemplary, but in view of the flawed final two chapters I look forward to another more nuanced account of the contemporary struggle. Merdeka!

David Robie is director of the Pacific Media Centre and editor of Pacific Journalism Review. He was awarded the 1983 NZ Media Peace Prize for his coverage of Timor-Leste and West Papua, “Blood on our hands”, published in New Outlook magazine.

Papua Blood: A Photographer’s Eyewitness Account of West Papua Over 30 Years, by Peter Bang. Copenhagen, Denmark: Remote Frontlines, 2018. 248 pages. ISBN 9788743001010.
See No Evil: New Zealand’s Betrayal of the People of West Papua, by Maire Leadbeater. Dunedin, NZ: Otago University Press, 2018. 310 pages. ISBN 9781988531212.

References
Adam, A. W. (2015, October 1). How Indonesia’s 1965-1966 anti-communist purge remade a nation and the world. The Conversation. Retrieved from https://theconversation.com/how-indonesias-1965-1966-anti-communist-purge-remade-a-nation-and-the-world-48243

Bang, P. (1996). Duianya Puwul. [English edition (2018): Puwul’s World: Endangered native people]. Copenhagen, Denmark: Remote Frontlines.

Osborne, R. (1985). Indonesia’s secret war: The guerilla struggle in Irian Jaya. Sydney, NSW: Allen & Unwin.

Robie, D. (1989). Blood on their banner: Nationalist struggles in the South Pacific. London, UK: Zed Books.

Robie, D. (2017). Tanah Papua, Asia-Pacific news blind spots and citizen media: From the ‘Act of Free Choice’ betrayal to a social media revolution. Pacific Journalism Review : Te Koakoa, 23(2), 159-178. https://doi.org/10.24135/pjr.v23i2.334

Article by AsiaPacificReport.nz