November 27th, 2012

why are Indian farmers committing suicides over their debts?

Every day, I Google “farmer suicides” and every day I see a new entry. I have a mantra which riffs on this: “Nearly 300,000 Indian farmers have committed suicide to get out of debt since 1995. In the state of Maharashtra in 2006, 4,453 people committed suicide. That’s one every eight hours.”

If you close your eyes and wiggle your finger over a map of India near the middle you’ll land on Maharashtra. You’ll probably not be far from a town called Wardha in Vidarbha. Nestled between the cities of Amravati and Nagpur it’s got a population of just over a million people – most of them farmers. Specifically, cotton farmers. This is known as the “cotton suicide state”.

Farmers being in debt isn’t new and neither is suicide. What shocked me wasn’t that people did it but how many people did it and why. It was like a swathe of indebted farmers were trying to push the reset button because they felt they couldn’t make something work properly.

There’s a tendency to appear dismissive of the real life struggles of the Indian agrarian class with two words – “go organic”. As an ideal, it’s perfect. No chemical use so no nasty cancers, working with a seed that isn’t sterile and 95 per cent controlled by Monsanto and cheaper for the farmer. Yet it’s not that simple. A farm that’s been hammered with years of chemical abuse needs some detox time in order to qualify for an organic standard certificate. That means three years of farming organically without the perks of selling at organic prices. The fear of lower yield for farmers who are oftentimes below the poverty line is enough to keep them on the smack.

I met a farmer called Hanuman who borrowed 80,000 rupees from the bank so he could farm his five to six acres of land with cotton. A father of two, he spent 70,000 rupees on boxes of bt (bacillius thuringienis) cotton seed and pesticides. The technology for bt is owned by Monsanto and it is licensed to seed companies for use and sale across a range of crops. The seed Hanuman uses costs 950 rupees per kg – Monsanto gets around 180 rupees per box. What’s more, he has to buy fertilisers to help it grow and chemicals to keep the bugs away. He hires labourers at 100 rupees a day to spray those chemicals. In an average season, he’d spray 8-10 times.

This year, the monsoons came late and the wells were running dry. Hanuman doesn’t know how much yield he’ll get from his crop. He won’t know what money it will fetch until he takes it to market. Buyers there pay the same price for bt cotton (which starts off producing higher yield but slowly declines and is grown with pesticide) as they would for organic (lower yield, no pesticides, more manual work on the farm). Hanuman says the only reason he’d resort to a bit of organic farming is to cut back on the costs of chemicals. He’s scared he’d lose too much money.

Bt seeds are sterile – so that means he has to buy a fresh batch of seeds the next time around. When we last spoke, he said he’d have to borrow more money to buy more pesticides and pay for his sons’ schooling. Somewhere in that narrow margin of debt he has to find cash to keep his family together.

I befriended Prathiba, a widow whose daughter found her husband hanging inside their one-room house in 2007. Now sweeping floors for a living, she lives with one other daughter. She sent her son away because she couldn’t afford to keep him. She didn’t know her husband was in debt until she found a note in his pocket.

We also found Kantibai. Her husband drank the poison he used to farm on 09 August 2012. Like Prathiba, she didn’t know her family was in debt until someone brought her husband – dying from poisoning himself – to the house. He told her to look after their two sons and daughter and was whisked off in a rikshaw towards hospital. He never made it. We met her a month later in a state of blank desperation that will always stick with me. She really had no idea where her life would go from there.

Ignoring journalistic pretentions at impartiality, the team and I chased down Kishore Jagtap – a man who runs a local NGO with a widows and women’s empowerment programme. Kantibai’s village was an hour away from his usual patch but we drove him to meet her anyway. He taught her what she needed to do in order to apply for compensation, what sort of help was available to her and taught her sons how to sign on to a welfare work scheme. He also gave her his direct contact details and said to call him anytime. Kishore didn’t have to come with us. But he did. And for the first time, as we were leaving, Kantibai smiled.

India is around 60 per cent agrarian so we started at the bottom – with the farmers on whom the whole economy relies. We found that they were the first to give of themselves and yet the first to be abandoned as India runs headlong into the dizzying ether of free market economics (or as free as you can get when you’re bound to the World Trade Organisation and dole out corporate subsidies).

We found stories that challenge preconceived notions of poverty and need. We spent a day looking for the poorest farmer in a village only to be welcomed into his house and greeted with a brand new television with a dodgy colour tube. He’d spent a week’s wages on it. We saw farmers who grew chickpeas and sold them at the market for 30 rupees a kilo…and then went down the road to buy chickpeas for dinner at 50 rupees a kilo.

We saw gaps in basic education and farmers who had no one to teach them how to farm apart from the men who sold them the seeds and the chemicals.

We met economists, intellectuals, activists and scientists who lived lives dancing on dualities. Like the man who runs an organic seed bank but farms bt cotton to fund it. Or the etymologist developing a GM cottonseed that thrives in drought, can be farmed using organic methods and will undercut major seed companies if he’s allowed to open-source the technology.

We were met with enthusiasm, apathy and hostility. Sometimes within the same sentence. And we’ve only just started. We need to work our way up the cotton supply chain and get to know the workers, the brokers, the manufacturers, the buyers, the dealers, the designers, the retailers and the consumers.

I struggled with my privileged Western “let’s buy organic” idealism. It’s great if everybody plays ball but in a country that’s mired in corruption and kickbacks at the top and desperate penury at the bottom you feel a bit of a dick even suggesting it. Being treated to a show of women making organic insecticide out of cow piss and leaves in the dark of the night while their neighbours whispered “I don’t know why we always do this for visitors, it doesn’t work and no one actually uses it” didn’t help either.

It’s a journey. I’m aware what I come back with at the end may be different from what I expect to find. I’m exploring science and the idea of open-sourcing technology to take power away from corporations and anyone who makes a killing out of suicides. I want to see if we can make ethics and sustainability the norm in the fashion industry because people don’t have to die for the stuff we wear. It seems we may have to ruffle some very important feathers while we do that. Bring it on.

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This article was first published in the New Statesman on 27 November 2012. Re-printed by permission of the author.

May 8th, 2013

special offer for dirty white gold fans!

coverweb

The new quarterly magazine – STIR – has just published The Cotton Film: Dirty White Gold as their lead story this month! With beautiful artwork by Matthew Carey Simos for my article, it is really worth buying a print copy.

STIR is offering Dirty White Gold fans free postage for those who live in the UK (saving 30%) on their first issue, so it’s only £3.95. You can pay via GoCardless, a great small and British alternative to Paypal, here: https://gocardless.com/pay/4VSK8C21 or if you prefer Paypal you can send £3.95 to their account, which is stirtoaction@gmail.com with ‘Dirty White Gold’ in the notes.

April 17th, 2013

ding dong

Radical artist Peter Kennard was a chief satirist of Thatcher during her era. On the day of her funeral, Open Democracy revisited some of the images that captured the Iron Lady and her demons.

Maggie Regina, 1983. © Peter Kennard

Maggie Regina, 1983. © Peter Kennard

All images by Peter Kennard.

Text by Leah Borromeo.

Margaret Thatcher’s election in 1979 heralded a fresh and angry approach to the arts. An emergent alternative comedy of the 80s fed hungrily at increasingly more political targets while a vanguard of radical artists like Peter Kennard found ready lampoon fodder in Thatcherism’s demons.

Originally a painter who started his art career as a teenager painting out of his parents’ coal shed in Maida Vale, Peter Kennard turned to photomontage to better express his political fury and activism. An artist more concerned with the dissemination of ideas than the commodification of culture, Peter says his art in the 80s “shows there was a cultural resistance running in parallel with political resistance. It’s all the same. The images communicate to a wider group of people than words can – they were designed so everyone could visually understand real issues through the image.

My pictures gave people who felt appalled by Thatcher’s actions a boost. They had images that encapsulated what they were feeling. The fact they stem from photography lends them a reality and an urgency. As with back then, I want my images to open up thought processes about what people believe.

Tyranny lives through one vessel into another. Then it was Thatcher. Then Blair. Now Cameron. Same shit, different arsehole.”

Margaret Thatcher’s death has dug up her legacy – wounds that never truly healed because succeeding politicians have been all too keen to continue in her shadow. The privatisation of public services, the dismantling of the welfare state, a free market economy nurtured on individual greed instead of collective need – the effects of her actions still resound today. While the left, old and new, publicly celebrated the passing of conservativism’s most distinctive scion, Thatcher’s funeral arrangements silenced Big Ben and cost the taxpayer £10m. She even took away Big Ben’s right to strike. It’s what she would have wanted.

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This article originally posted on Open Democracy, 17 April 2013.

March 15th, 2013

syria: two years of bloodshed [amnesty film]

The latest in my series of films for Amnesty International on torture and violent oppression from all sides of the Syrian conflict…and the need for a human rights revolution.

This film coincides with the release of two new briefings from Amnesty International. The first focuses on summary killings and other abuses by armed opposition groups. The second focuses on indiscriminate attacks by government forces on civilian targets including the use of cluster bombs.

More info: http://www2.amnesty.org.uk/blogs/campaigns/syria-two-years-new-amnesty-film-reports

Credits

Director: Leah Borromeo | @monstris

Producer: Kristyan Benedict (Amnesty UK) | @KreaseChan

Editor/Animator: James Paulley | @jamespaulley

Music: Ascher Nathan | @aschernathan

Artwork: Leah Borromeo | @monstris

Additional Artwork: Peter Kennard | @at_earth

Images: Amnesty International | James Lawler Duggan | Alessio Romenzi

February 28th, 2013

pop, politics and pubs: leah borromeo talks to eddie johnson

….about his book “Tales From the Two Puddings” on Resonance FM’s Clear Spot.

December 3rd, 2012

Waitrose urged by Greenpeace to #DumpShell

We’re part of a shadowy collective of filmmakers called the Agents of Intervention.

Greenpeace told us that Waitrose have an unholy partnership with arctic drillers Shell Oil.

So we agreed to make a film for them. You can find out more at http://greenpeace.org.uk/waitrose and spread the word using #DumpShell.

October 11th, 2012

suicide – the only way out of debt?

PESTICIDE_1

Nearly 300,000 Indian farmers killed themselves to get out of debt between 1995 and 2011. In the state of Maharashtra alone, 4,453 people committed suicide in 2006. That’s around one every eight hours. As I’m writing this, I hear of seven farmers who’ve died in the past three days. It’s like a swathe of desperate people trying to push the reset button.


If you hover your finger over a map of India, somewhere near the middle you’ll find a town called Wadha in Maharashtra. This is a town of just over a million – most of them cotton farmers. I travelled there to find out more about what is driving farmers to take such desperate measures.

I met Hanuman, a father of two who had borrowed 80,000 rupees ($1,511) from the bank so that he could  grow cotton on his five acre farm. He had spent almost the entire loan on boxes of Bt (Bacillius Thuringienis) cotton seed and pesticides. The technology behind Bt is owned by Monsanto and is licensed to seed companies for use and sale across a range of crops. The seed Hanuman uses costs 950 rupees ($18) per kilo, and Monsanto receives around a quarter of this amount.

Hanuman also has to buy fertilisers to help the cotton grow and chemicals to keep the bugs away. He hires labourers at 100 rupees ($1.89) a day to spray those chemicals. In an average season, he sprays between eight and ten times.

This year, the rains failed and the wells were running dry. The monsoons came, but they came late. Hanuman won’t know how much yield he will get from his cotton crop until he goes to pick it in a few months time. He won’t know how much he will make from it until he goes to market, where buyers pay him the same price for Bt cotton – which produces higher yield and is grown with pesticides – as they would for organic cotton (lower yield, no pesticides). The only reason Hanuman might consider organic farming would be to cut back on the costs of chemicals. He fears he might lose too much money.

Bt seeds are sterile – so that means he has to buy a fresh batch of seeds each year. When we last spoke, he said he’d have to borrow money to buy more pesticides and pay for his sons’ schooling. Somewhere in that narrow margin of debt he has to find cash to keep his family together.

I also befriended Prathiba, a widow who in 2007 had found her husband dead, having hung himself inside their one-room house. Now sweeping floors for a living, she has a daughter and a son who has to live elsewhere because she can’t afford to raise him.

Prathiba wasn’t aware that her husband was in debt until she found a note on his body. Unlike many in her situation, she received compensation from the government of one lakh (around $1,888). Under the terms of compensation, the family keeps a quarter of this. The rest is put in a bank where they can only access the interest at the end of the year. The men Prathiba’s husband owed money to keep coming round for cash. Her in-laws now completely ignore her.

India is around 60 per cent agrarian, so I started my research at the bottom – with the farmers on whom the country’s economy relies. I found that they were the first to give of themselves and yet the first to be abandoned as India is thrown about in the dizzying ether of free market economics (or as free as you can get when you’re bound to the World Trade Organization and dole out corporate subsidies).

Some stories I discovered challenged my preconceived notions of poverty and need. I spent a day looking for the poorest farmer in a village only to be welcomed into his house and greeted with a brand new television with a dodgy colour tube. He’d spent a week’s wages on it.

I met economists, intellectuals, activists and scientists balancing on contradictions.  Like the man who runs an organic seed bank but farms Bt cotton to fund it. Or the entomologist developing a GM cottonseed that thrives in drought, can be farmed using organic methods and will undercut major seed companies if he is able to open source the technology. I encountered enthusiasm, apathy and hostility – sometimes within the same exchange. And I have only just started.

Leah Borromeo is making a documentary called Dirty White Gold, to spread the word about cotton farmer suicides, pesticides and fashion. To help the team get back to India and finish filming they’re running a crowdfund. Find out more and donate at their information page.
Twitter: @dirtywhitegold

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This article was first published in the New Internationalist, 10 October 2012.

September 24th, 2012

the cotton film: dirty white gold | crowdfund

At last – it lives!
We launched the crowdfund for our film The Cotton Film: Dirty White Gold today.

The journey starts with nearly 300,000 Indian farmers who have killed themselves to escape debt. At one point, up to 26 per day. They are the price we pay for cheap cotton – trapped in a cycle of debt, brought about as a result of the industrialisation of their livelihoods. Some kill themselves by drinking the pesticides with which they farm.

At the heart of the film will be the human stories of the people who work the fields to form the threads of our moral fibre. We will ask “when you bag a bargain, who pays for it?”

The crowdfund offers not only the chance to help us make the film but every pound you give is worth three. And you can get some amazing rewards from the likes of Souled Out Studios, Dr D, Barnbrook and Peter Kennard.

Find out more about the film and help us help others.
http://www.sponsume.com/project/cotton-film-dirty-white-gold

September 17th, 2012

brandalism [random acts]

…where I follow two men and a van around five cities in the UK across five days putting up nearly forty pieces of artwork [subversively, of course] – all as a comment on advertising, commercialism and the great white hope that is buy buy buy.

More info on http://brandalism.org.uk/

Viewers outside the UK can use http://www.expatshield.com/ to disguise their IP so they can pretend they’re watching from inside the UK. Clever no?

July 24th, 2012

brandalism

documenting this project has been a little baby of mine. i was invited by the brandalism crew on a road tour – mostly nestled in the back of a blackened van with tall ladders, buckets of paste, artwork and a clutch of hi-vis vests. they’d try to put up over thirty billboards in five cities across the uk…in five days.

somehow convinced channel 4 that heading up to possibly break every health and safety regulation in the book along with risking arrest for 120 consecutive hours would make good television. having very close personal relationships with many of the participating artists and a pedigree of getting out of trouble playing the ditzy oriental chick may have helped – but not sure.

“it’s taking the piss with a point,” i argued, stealing a line from dr d. so up i went to film, photograph, present and partially edit a few video ditties.

turns out i fit in well with the brandalism crew’s DIY way of doing things.
i’ll even forgive the arse cracks, back pain and vegan food.

so…here’s their site: http://brandalism.org.uk/

and look out for my upcoming film for channel 4’s random acts.