This disability health and support centre in Kabul, the capital city of Afghanistan, is staffed almost exclusively by disabled care workers. They produce prosthetic limbs and provide rehabilitation and social support in a country where public healthcare is negliable.
In the photograph below, street artist Shamsia Hassan is featured in front of one her graffiti creations in an industrial park in Kabul, Afghanistan. Hassan was featured today in The Guardian, where she argues that many people in Afghanistan have not been exposed to (non-religious) art, but she sees that graffiti is a way to change that. She says: “If we can do graffiti all over the city, there will be nobody who doesn’t know about art”. To many people in “Western” countries, Shassan’s comments might seem to be consistent with the dominant view that Afghan people exist in a “backward” social vacuum. From the outside, Afghans are perceived to live in a society untouched by modernity and completely ravaged by war. This view fails to recognise the history of Afghanistan, as well as the cultural and educational diversity amongst urban and rural groups from different tribes in different regions. Moreover, I see that Hassan’s comments about street art go to the heart of much of Bourdieu’s work on taste and distinction.
Two years a go, a then-19 year-old Afghan woman known only as ‘Gulnaz’ was charged with adultery and sentenced to 12 years imprisonment after she reported that she had been raped by her cousin’s husband. Gulnaz became pregnant from the rape she endured. She gave birth in prison. Gulnaz and her child lived behind bars for two years until the international community heard about her plight. Her case became known when the European Union announced it had banned a documentary about Gulnaz and other victims of gender crimes, citing a fear for the women’s safety should their story become public (CNN).This rationale drew international criticism. Five thousand people signed a petition for Gulnaz’s release in late November.