Women Photograph awarded four project grants to photographers last year to support work in India, Mexico, the U.S., and Yemen. Take a look at some of what they've produced so far — and make sure to apply for this year's grants! $35,000 in project funding is available in $5,000 and $10,000 grants, thanks to Nikon and Getty Images. Apply by May 15! You can find more information here.
Gabriella Demczuk spent some time in Texas last year with writer Emily Gogolak looking at the northern creep of the border and the political immigration storm brewing over the state when the physical manifestation of that storm hit in the form of Hurricane Harvey. Interstate 35 check point remained open during the hurricane, a literal metaphor for the hard line immigration policy the Trump administration is implementing which is very much influenced by the laws in Texas. This is the start of a longer project looking at the effects of Trump's immigration policy on immigrant mothers.
And don't miss Gabriella's piece in Politico Magazine: How Trump Moved the Mexican Border North.
Néha Hirve returned to India to continue working on Full Shade/Half Sun, a project that focuses on documenting an alternative, reforestation-based community in Tamil Nadu. She also began experimenting with audiovisual tools to accompany her images. This was the first time she's been able to re-visit a project and plans to return again at the end of the year. Neha is currently based in Sweden, and has a special interest in man's relationship to and impact on the natural environment. The first part of Full Shade/Half Sun was published in National Geographic last year: This Eclectic Community Transformed a Desert into a Fantastical Forest.
Luján Agusti continued her project on holy dances in Mexico — this time in Putla. There's an old story that one time, when the local residents didn't have enough to eat, a group of men decided to steal a bull from a wealthy landowner. When he discovered what happened, instead of threatening the men who'd stolen his bull, the man offered a reward: a night of food and dancing for anyone who would return his beloved bull. In order not to reveal their identity, the group of "Putlecos" created a suit composed of several pieces of cloth, and each wearing a mask, approached the hacienda to return the animal.
As he had promised, the landowner offered a huge banquet, and the party lasted several days. That same day was established as the date for the Putleco Carnival, which for many years has been held during the month of February. The tradition continues to this day, with participants coming in disguise and dancing non-stop for days.
Take a look at more of Luján's work in Witness: Diablos de Cuajinicuilapa.