Annie Sakkab: We Used to Watch the Rivers Go By

Oases and natural water sources in Jordan are drying out. At the same time, centuries-old knowledge, cultural practices and collective memories are also at risk of being lost. In her multi-layered project, the photographer tries to preserve this heritage that is so closely interwoven with the element of water, drawing our attention to how we treat the environment, and promoting greater resource equity.

“Where does our rainwater go?” This was the question that instigated Jordanian-Palestinian photographer Annie Sakkab to begin her project ten years ago. In We Used to Watch the Rivers Go By, she focuses on documenting the water shortage in her homeland. Jordan is considered one of the driest countries in the world. There are a diversity of reasons for this: climate change and the strong population growth are often cited as the driving causes. “Climate change is undeniably an important factor, manifesting in reduced rainfall, intense but shorter rainy periods that trigger flash floods, and increasingly extreme heat waves,” the photographer reports. “However, we cannot ignore the historical diversion of Jordan’s natural water systems as the primary cause of this manufactured scarcity.” In order to fully capture the complexity of the current crisis, she explored the deep layers of her country’s history and geopolitics, which are defined by colonial border demarcations and interstate conflicts.

The photographer shares the stories of her protagonists in a balanced approach. On a human level, she reveals what moves them, what challenges they face, and how they have come to terms with the shortage. Despite the dramatic situation, her images also convey hope. Drawing on the knowledge and traditional practices of generations who have lived in harmony with their environment for centuries, she sees the people themselves as ‘reservoirs’ of memory. “To find long-lasting solutions to today’s water crisis, we must look inward, toward our own history and traditions, rather than waiting for solutions from external forces.” In this manner, she approaches the crisis from a personal perspective and, in the name of her community, tries to regain self-confidence and the capacity for action. 

As a result, in We Used to Watch the Rivers Go By, the line between pure documentation and personal consternation becomes blurred. As Sakkab explains, for her long-term project, “the documentation becomes a collaborative act”. The clear delineation and well thought-out compositions guide the eye of the viewer through her images. Saturated, warm colours, spacial depth, and a masterful use of light and shadows, lend her photographs the feeling of Renaissance paintings at times. The difference is that they tell stories taken from real life: the young Syrian refugee Um Mazen in a dilapidated shelter, washing her child with sparing amounts of water; Chechen women playing music to preserve their culture; the hard-working Ismail Owaidat, who teaches city professionals about traditional botany. This LOBA series deals with both an ecological crisis as well as cultural continuity and resilience. Sakkab’s images remind us that water is not simply a resource but a cultural heritage that needs preserving. 

Annie Sakkab’s series was submitted by David Y. Lee, who is part of this year’s group of international LOBA nominators.