It’s Fashion Revolution week this week. Today is the fourth anniversary of the deadly Rana Plaza collapse in Savar, Bangladesh. We’ve been working closely with Fashion Revolution almost from the start, our CEO Ian being a member of its Global Coordination Team. followthethings.com brings to Fashion Revolution a keen interest in cultural activism, its creation, discussion and impacts, This week we will be sharing each day a form of cultural activism that has made significant contributions to the movement.
Today’s post shows how photographs from the Rana Plaza site in the hours and days after the collapse were used to engage consumers and shame brands and retailers who refused to acknowledge that their clothes were being made there at the time. In this 2014 TED talk, Bangladeshi documentary photographer Ismael Ferdous talks about those he took on the day and what he did with them when he took them to New York. Guerrilla Projection is the activist tactic. This is moving, inspiring, troubling work.
Samantha Corbin & Mark Read (2012) Tactic: Guerilla Projection. in Andrew Boyd (comp.) Beutiful trouble: a toolbox for revolution. New York: O/R, 52-53
Hannah Harris Green (2014) Photographer Ismail Ferdous On Documenting the Rana Plaza Factory Collapse. The Aerogram 15 May
We researched a 2009 BBC Panorama documentary ‘Primark on the rack’ for followthethings.com. This was a documentary exposing Primark for producing its notoriously cheap clothes in Indian sweatshops. It contained a 45 second scene in which child labourers were filmed checking that sequins were firmly attached to its sequined tops. Primark claimed that this scene had been ‘faked’ and made a concerted effort to discredit the whole film, with mixed success (detailed on our site here).
As with many of our pages, we made a few scenes in Lego, uploaded them to a flickr set, and embedded them. Today, we added a couple of new scenes to our ‘Primark on the rack’ set, to bring the story up to date.
These scenes are intended to highlight a theme that cuts across a number of examples of followthethings filmmaking on our site: corporations responding to sweatshop, worker health and environmental destruction exposures by employing public relations and/or legal teams to ‘prove’ that key scenes – and, by implication, whole films – are ‘faked’. This is, for example, how Primark responded to the BBC documentary in 2009, how Dole responded to Fredrik Gertten’s documentary ‘Bananas!*’ in 2009 (link), and how Chevron responded to Joe Berlinger’s documentary ‘Crude: the real price of oil’ in 2009 (link).
This past week has seen relentless TV news footage and newspaper column inches devoted to the Savar Rana garment factory collapse. Journalists have told unfolding stories of dramatic rescue efforts and the shocking numbers of people who made Primark, Joe Fresh, Matalan, Mango, Benneton, Bon Marche and other branded clothes being found dead in the wreckage of their workplace or missing, presumed dead.
NGOs and others are putting pressure on these clothing brands to respond appropriately to this disaster by properly compensating its victims and their families, by signing agreements that they’d been reluctant to sign before, and by putting into place more comprehensive auditing practices so that what they agree to is more likely to be done in the future.
This pressure continues to be applied, and companies are responding. On Monday, for example, the BBC reported that Primark had released a statement saying that it ‘accepts all its responsibilities in this disaster’ (Source: BBC 2013 link). ALL of them. We shall see.
This is not a single documentary with a named director, whose work can be ‘discredited’ with the right PR and legal teams in place. This is ‘Primark on the rack 2013’. Click the photos to get to the whole 6 scene set.
Postscript: why Lego?
We’ve been inspired by Lego re-creations that we found online of hidden scenes from the ‘War on Terror’. They had been made and posted online in 2009 by an artist/blogger called Legofesto (see her flickr sets here). She argued that:
‘By using toys, I hope the viewer will linger longer over the image and think again about what is actually being depicted or described, in a visual language that is recognised by us all: LEGO. … The incongruity between the immoral and horrific acts and events depicted and the smiley-faced children’s toy create a tension’ (legofesto in Time Magazine 2009 link).
By photographing re-creations and publishing them online, she argues:
‘I want to keep the debate going. To keep it in people’s minds, to remind us of our atrocities because the media has moved on and they don’t want to dwell on the tactics [of the ‘War on Terror’]. … People are using Legofesto to talk about torture and state violence’ (legofesto in Carling 2009 link).
We want our Lego re-creations to help keep trade (in)justice debates going, to keep them in people’s minds, etc. in a similar way.