Donald Trump’s Muslim Ban Nearly Ruined Her Photography Career

When Fatemah J was arrested by the Tehran police while clicking photographs of a protest outside the Iranian parliament, the only thought running in in her mind was how she could safeguard her pictures and camera. “I was taking pictures from a boundary wall when they caught me. I told them that if they wanted my camera, they had to take me along,” she says, recounting the event that took place two years ago. She was only let go after convincing the cops that she wasn’t a spy but just an ambitious girl working hard to pursue her passion of wielding the lens.

A graduate in photography from the Tehran University of Art, Fatemah kept taking photographs of animals, nature and things that symbolise Iran’s culture. A few months post the incident, she received an opportunity with potential to turn around her whole life: a social justice fellowship with Magnum, the iconic global photo agency known for its coverage of places of interest, disaster, politics, society and people.

The opportunity involved travelling to New York to learn photography from stalwarts, and then applying the knowledge to a project on a topic close to her heart—the suppression of Iran’s indigenous culture under Iran’s Islamic Revolution.

But on January 27, 2017, United States President Donald Trump put in force his infamous ‘Muslim ban’. Fatemah’s country found itself on the list of countries whose travellers would be denied US visas, and Fatemah’s dreams were shattered overnight.

“I was heartbroken. I told myself that I would find other opportunities, but I knew in my heart that it wouldn’t be that easy.” Desperate to get out of a country facing a 'tsunami of unemployment' due to the crumbling economy and trade sanctions, she started applying for courses around the world. Her twin brother—a graduate in physical education—had been looking for a job for years too.

Another reason for escaping the country was the censorship and restrictions on the freedom of speech in Iran under the Islamic Revolution led by Supreme Leader Ayatollah Khomeini. Fatemah has had a history of trouble with the police: once when her dress was found to be above the knee, and another time when she was suspected to be a member of the anti-government Green Movement because she was incidentally wearing a green scarf and shoes. “I got away by playing a nice, innocent and feminine girl,” she says mischievously. “Even religious boys are boys in the end. Resisting is futile.”

Looking for a place where she could exercise her freedom of speech, Fatemah headed to India. She first lived in New Delhi and then opted to pursue her research in fine arts from the Aligarh Muslim University. “I love the freedom Indians get. There are cartoons of Prime Minister Modi in newspapers. This would be unthinkable in my country.” Over the last year, she has found herself appreciating everything from India’s religious diversity and natural beauty to Hindu traditions, mangoes and dosas. Of course, there are the mosquitoes, the hot weather and its resultant health issues that frustrate her. “But the freedom I enjoy here compensates for it all.”

Though Fatemah doesn’t plan to go back to Iran in the near future, she misses her unorthodox family, their home, and the view of the hills from its terrace. When she looks at the situation back home though, she finds it infuriating that most contemporary Iranian photographers have a distorted view of what is modern. “They’d show women smoking or drinking as a symbol of Iran moving away from its Islamic roots. They are ignorant of the rich and pluralist history of our country, since the Mesopotamian civilisation. Rural women have been smoking for centuries, while wine drinking is an integral part of Persian traditions.”

She feels that such markers of Iran’s past are slowly being removed from its history and literature. In her role as a documentary photographer, she wants to work towards chronicling these elements of Persian culture. “I read the related history before I start working on my projects, something few contemporary photographers do. Reading history takes you a lot closer to reality.”

Currently, Fatemah is trying to resurrect her photography career by working on suppressed communities in India, like the Kashmiri Pandits and the ‘half-widows’ of the Kashmir valley. “A lot of Kashmiri traditions are inspired from Persian culture. Many Kashmiris derive their lineage from Iran.” She also wants to document the cow-worshipping culture in Hinduism as she feels Persians have a similar history “of respecting and loving these gentle and calm animals”.

Does she still harbour resentment for a dream that could’ve materialised? “I have no bitter feelings anymore but I do feel that at least students should’ve been kept out of its purview. He (Trump) should have remembered that the Iranian-Americans are one of the most hardworking communities in USA. But at the end of the day, he is a democratically elected president that people have chosen. What can one do about that?”

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