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Finding moxie among the underprivileged

How a visual project that started off as a personal journey in Dubai evolved into a 'more human' representation of those in deprived communities

Moxie (n.): Force of character, determination, or nerve

When Dubai-based photographic artist Aryk M Paynkili first embarked on Moxie Chase, a portraiture project that took him to disadvantaged communities across 11 countries in Asia, it was more of a personal journey; he was "chasing answers" to what exactly constituted a 'great' standard of living. Four years on, he's found his answers - in an unlikely section of society: the uncelebrated working class from underprivileged villages across the world's largest continent. And it's these people that he represents today.

Raised in Dubai, the Indian expat lived and worked in San Francisco for a while before giving in to his restlessness and returning to the UAE. He decided to travel, but even then, the plan was simply to take his camera along, point and shoot. What he discovered was a world of both ordinary folk and highly skilled artisans - from farmers and fishermen to puppet makers and paintbrush masters - all of whom he realised were defined "not by their challenges, but by what they were doing to break away from those challenges".

My Way Or The Highway, Indonesia

The discovery was not without irony. "It was funny that I was running away from a full-time job, but I was drawn to people who were doing all these 'mundane', yet traditionally rich, jobs," says the 31-year-old. "Every time I went to these remote areas, people who found out I was from Dubai would always tell me how 'good' I had it - but, honestly, spending time with them was therapeutic for me."

Though there has been plenty of coverage on the poor socio-economic conditions prevalent in these communities, Aryk was moved to document a more human side to the people he met there: how they found value and took pride in what they did, how most were primarily driven by a desire to provide a better life for their loved ones, and how the accident of birth seemed to play a major role in determining how the lives of these individuals played out.

Because of the broad scope of the project, Moxie Chase is divided into 'chapters', each one addressing a different insight. The first, for instance, is called Driving Force and explores how the lives of children in these communities are often limited by external factors. Many are obliged to take up trade skills to put food on the table each day - a goal far more pressing than the potential rewards that an education might reap 10 years from now. However, Aryk says, he also found the kids "very comfortable in their skin" and close to their families - something he guesses has to do with the lack of gadgets in their scene.

Overtime On A Holiday, Myanmar

Kids here also tended to exhibit a strong appreciation for their natural environment. Says the young photographic artist, "I find it interesting how cities are constantly trying to battle climate change by appealing to their future generations... who don't really spend much time with nature. Kids in cities spend so much time within four walls and with gadgets. How are they supposed to figure out the toll climate change will take on the world?" By contrast, he guesses kids in rural areas - who work on the farms with their parents and have a greater sense of empathy for other life forms - would be far more concerned or invested, if you told them about global warming.

The body of work that Moxie Chase showcases suggests that it would be misguided to think those involved in these professions of artisanship and traditional livelihoods are miserable - even though their work is back-breaking and the pay minimal. "There is a very strong sense of pride among those involved in the handicrafts industry," says Aryk, whose encounters led him to hanji masters, batik makers and Korean fan producers alike. "A lot of that has to do with culture. If it's a tradition or skill that takes years of practice to master, that becomes an important part of culture. To preserve the skill is to preserve culture."

Hanji Crafts Master, South Korea

It's not a pride limited to the current generation of master artisans either. The son of a drum maker Aryk spoke to, who attends school and has more opportunities available to him, thanks to his education, told him he still plans to continue the family tradition of making drums. "I always assume they'd rather have city jobs and work in air-conditioned rooms," says Aryk. "But there are many who'd pass that up - like the Indonesian woman I met who worked with handlooms; she moved to Jakarta to work as a waitress, looking for a better life, but soon returned to her village. Apparently, improved standards of living do not always equate to a better quality of life."

The initial goal of the project was to validate his passion, he admits ("it only took me four years!"). Now, however, Aryk's goal is two-fold. "It's the Year of Giving in Dubai, so I'm really hoping the project can help people in urban cities identify with those represented in my images - and even encourage them to engage with local humanitarian and welfare programmes," he says. He's also keen to collaborate with NGOs and social enterprises that share his vision of helping deprived communities pursue a better quality of life. "Visual storytelling campaigns have a more effective reach over policy makers, decision-makers in governments and the general public to inspire change. And I believe NGOs change lives, so I would love to join that force."

(For more info, visit www.moxiechase.com)

karen@khaleejtimes.com