Turning e-waste into art at Ghana’s toxic dump
Turning e-waste into art at Ghana’s toxic dump
“It’s survival and dystopia,” says the 21-year-old British-born Ghanaian, surveying the stretch of wasteland around him as dense plumes of acrid smoke rise into the air.
Awuah-Darko and his university friends have ambitious plans for the sprawling Agbogbloshie dumping ground in Ghana’s capital, Accra.
In January this year, he co-founded the non-profit Agbogblo.Shine Initiative, which encourages people working at the dump to turn waste into high-end furniture.
The dump workers typically risk exposure to harmful fumes by burning obsolete and unwanted appliances such as mobile phones, computers, televisions and plastics that are brought to Ghana from around the world.
After burning, they salvage and resell copper and other metals from these leftovers of modern consumer culture.
The dump and scrapyard sit next to the heavily polluted Odaw River in the slum-like area, home to an estimated 40,000 people.
The UN has said that salvaging materials for recycling provides income for more than 64 million people in the developing world.
Ghana is said to have the largest informal recycling industry in Africa and imports some 40,000 tons of this e-waste annually.
When Awuah-Darko first saw the piles of circuit boards, wires and plastics at Agbogbloshie he decided he wanted to use his artistic talent as a force for change.
So he set up the Agbogblo.Shine project with Cynthia Muhonja, a fellow student from Ashesi University, about an hour’s drive from Accra.
They repurpose the electronic scraps, “upcycling” them into furniture, and offer training for the young men who work at the dump to create the pieces.
The students straddle two worlds — a privileged life on the lush campus of a private university in a forested area, and the harsh reality of life for some of Ghana’s poorest people.
Mohamed Abdul Rahim, who is in charge of about 20 young men, has been working at Agbogbloshie since 2008.
The 25-year-old from the north of Ghana works 12-hour days, six days a week. On average the workers make only about 20 cedi each (SR16.64) a day.
He knows the work is bad for his health but doesn’t see any other option. However he is optimistic that Awuah-Darko’s initiative will help.
“We are suffering here because the heat is there, the smoke, too, it disturbs us. If we see good work we will go join it and leave this,” he says.
The toxic fumes hurt his lungs, while his hips and waist ache from carrying heavy objects to burn. The money he earns supports his mother, wife and three children.
The ground he works on is black, muddy and littered with plastic bags, cables, bottles and broken shoes alongside smashed television sets and computer monitors.
Workers use plastics and polystyrene as fuel to melt down components to extract the copper.
Awuah-Darko recognizes that the people of Agbogbloshie “are basically in pursuit of what we all want, which is a better life.”
“Unfortunately, the side effects or the by-product of this is the detriment of their health,” he said.
He hopes that his initiative will not only improve their lives but also the planet, as waste from the site is given another life.
Awuah-Darko’s first upcycled work is a grandfather clock, made from a galvanized car axle, aluminum and part of a discarded wall clock.
Two high-end hotels in Accra are currently vying to buy the unusual timepiece, he said, and with such interest he has plans to create more and expand operations.
Awuah-Darko sees a future where around 100 people from Agbogbloshie can leave their harmful work to build furniture.
He also wants to exhibit the creations at major galleries around the world and sell them at auction houses.
That would be a world away for someone like Mohammed Sofo, a thin 26-year-old with small tattoos on his face.
But Sofo wants to live in a world where he does not have to burn waste to survive.
“Some people think we are bad because they think we are mad persons,” he said.
“If we get money no one will look at us like that. Some day will come when no one will be working here.”
‘It might be our destiny to have Syria only in our imagination’
- Syrian artists-in-exile discuss their absence from their homeland and its impact on their work
- For many exiled Syrian artists, their work is an expression of grief
DUBAI: “Being away from Syria is difficult,” young poet Maysan Nasser said. “Seven years later, it still feels like a phantom limb. It feels like the echo of white noise that is reverberating louder by the day.”
Nasser, a Beirut Poetry Slam champion, was talking separation: The idea that the loss of Syria is like an amputation. After seven years, she is still looking for answers to questions of home and belonging.
The first time I saw Nasser perform was last year during Zena El Khalil’s ‘Sacred Catastrophe: Healing Lebanon,’ a “40-day intervention” designed to permanently kick open the doors of Beit Beirut, a museum to the memory of the city in Sodeco. Her performance was raw and emotive.
The second time was in the basement of Riwaq Beirut, a coffee shop, cultural center and bar all rolled into one. She was addressing a small but appreciative young crowd and looked nervous. It was just a few weeks after she had launched the open-mic night ‘Sidewalk Beirut’ and the anxiety and jitters remained. In reality they shouldn’t. The crowd loves her.
“In this enforced distance from Syria, such communities have become my anchors,” she admitted. Yet her work, although deeply personal — sometimes painfully so — never directly discusses Syria or her home city of Damascus.
“I believe the distance of separation was the birth of my work,” she said. “It was in this distance that I was able to reconsider who I am, what my relationship to my family is like, what my relationship to my body is. I believe my poems to be attempts at understanding myself and my surroundings, but also my past.
“So when I speak about my mother and my relationship to her, I am also considering my mother’s past and the traditions she has internalized and passed on to me, which inevitably cast light on a time and place in Syria, and which inevitably expose my own connections and roots — or lack of, at times. This separation, in a sense, has coincided with a coming of age.”
At the same time as Nasser was hosting her early edition of Sidewalk Beirut, a mile or so away at The Colony in Karantina Zeid Hamdan, a pioneer of Lebanon’s underground music scene, was preparing to perform at Sofar Sounds. The venue —hidden up three flights of stairs in the Dagher Building — was little more than two empty rooms and an adjacent terrace. With him were the Syrian band Tanjaret Daghet (which means ‘pressure cooker’ in Arabic).
Hamdan has been performing with the trio since they left Damascus in 2011. Theirs is an energetic, sometimes harsh, alternative-rock sound, although that is changing. Their soon-to-be-released new album, “Human Reverie,” is as much about electronica as it is guitars and vocals.
“This pressure we’re living is kind of unique,” said Tarek Khuluki, the band’s guitarist and sometime vocalist. “You see people who are nagging about it or who are trying to use this pressure as a tool to escape the reality we’re living in, which can lead to unbalanced results. At the same time, you see people who are making the best they can with the little amount of nothing that they have. All they want is to see their ideas manifest themselves in art or in any other shape.
“Psychologically, we’ve learned not to think too much and not to play the role of victims, but to focus on our own language, which is music.”
It’s hard to discern whether the war in Syria has had a direct impact on Tanjaret Daghet’s work, or whether the wider woes of the Arab world are partially responsible for their sound and lyrics. They sing of political oppression and societal pressure, the absence of feeling and the loss of voice.
“We do not live the state of war in the real sense of the word,” says Khaled Omran, the band’s lead singer and bassist. “What we’re living is a kind of internal war, which has arisen from our instincts as humans. It’s our right to express ourselves through art and music because it’s more humanistic, and this has allowed us to meet several artists and to exchange expertise. Who knows, maybe if we had stayed in Syria, none of that would have happened.”
Outside of Beirut, up in the mountains of Aley, a series of old Ottoman stables have been converted into a residence for Syrian artists. Since it was first opened by Raghad Mardini in May 2012, Art Residence Aley has hosted numerous artists, including Iman Hasbani and Anas Homsi. Both now live in Berlin. Beirut, for some, is only transitory.
“It has given me a wider vision of the world,” says the artist and film director Hazem Alhamwi of his own exile in Berlin. “Maybe it’s more painful, but it’s more real. It is training for how to change pain into creative energy. Since 2014 I have been painting a collection I call ‘Homeland in the Imagination’. It might be our destiny to have Syria only in our imagination.”
Alhamwi is best known for “From My Syrian Room,” a documentary in which, through art and conversation, he attempts to understand how Syrians have learned to live with the distress and anxiety caused by war. It was while editing the film in France in 2013 that he realized he could not return to Syria, he said.
“I feel tired,” he told Arab News. “I feel as if I have one leg here — where I have to integrate, and want to — and the other leg in Syria, where I cannot stop being interested in what is happening. My family, my friends and my memories are still there. On the other hand, I feel like I am discovering another kind of violence, moving from living under a military dictatorship to the dictatorship of money. It’s a smooth violence written on smooth paper and put into a clean envelope. I feel myself in the stomach of the capitalist machine.”
For many exiled Syrian artists, their work is an expression of grief; a way to portray an overwhelming sense of loss. For others, those expressions are more subtle.
“We watch so many lies on TV, that it looks like art could be the only honest witness to modern times,” said Alhamwi, whose next film, produced by Zeina Zahreddine and Florian Schewe, will examine issues of identity. “Even many people’s facial expressions are not real. But good art is not only a mirror of the artist, but also of the spirit of the time they live in; or it’s at least the result of this reaction (of) the artist (to) the era.
“Art always tries to get people to pay more attention and not to repeat the same mistakes, but to learn from them instead. In wars, where the feelings of people are ignored and all the focus is on weapons, killing, fire and iron, art protects people’s real memory, away from any agenda or propaganda. It is this complicated memory that reflects the events, the emotions and the point of view of the artist. That is why art is needed in war as a special documentation. To tell the stories of people who didn’t get involved, because of position or fate,” he continued. “Art is a way for artists to survive in a world controlled by violence.”