Documenting the rural beauty of the Bangladesh border
- Text by Madison Beach
- Photography by Madison Beach
During the 10-hour van, rickshaw and boat journey to the Indian border an assortment of landscapes rushed passed. My mind raced to the preconceptions I had before I arrived and whether these landscapes matched up, but truth be told I had no idea what to expect when I stepped off the plane in Dhaka.
When I arrived at the village I would be calling home for four months – based 30 minutes away from the Indian border – I felt immediately comfortable after putting up my mosquito net and coming to terms with the squat toilet. I would be living here to volunteer as a community worker, delivering workshops to the local people on health and social issues affecting the rural villages found on the edge of Bangladesh.
During the workshops, one issue continued to arise with both the youth and community elders: unemployment. Bangladesh has a similar unemployment rate to the UK (4.10 per cent and 4.2 per cent respectively) but has almost three times the population. This is becoming an increasingly bigger problem, with the elderly struggling to adapt to new technology and young people graduating with skills not required by the jobs available.
Another issue that became very clear when we were providing written information during our workshops was illiteracy. With hundreds of people often applying for one job in these rural areas, illiteracy can provide the first hurdle in the application process.
Despite the challenges, everyone I met was incredibly proud of their country, often referring to it as their “beautiful Bangladesh.” As I looked across at the huge mountains and stunning fields lined with cattle during my weekly rickshaw rides, I realised how deceptive this natural beauty can be. It’s without a doubt the most stunning country I have visited – and yet due to widespread poverty shaped by unemployment, daily life here is often a struggle. I found my eye (and camera) being drawn to the resilient, welcoming people that call Bangladesh home and the landscapes that surround them.
See more of Madison Beach’s work on her Instagram.
Enjoyed this article? Like Huck on Facebook or follow us on Twitter.
You might like
Louis Theroux’s ‘Manosphere’ shows men aren’t the problem, platforms are
No Ws for Good Men — The journalist’s new documentary sees him dive headfirst into the toxicities and machinations of the male influencer economy. But when young creators are monetarily incentivised to make more and more outrageous content, who really is to blame?
Written by: Emma Garland
In the 1960s, African photographers recaptured their own image
Ideas of Africa — An exhibition at the Museum of Modern Art explores the 20th century’s most important lensers, including Seydou Keïta, Malick Sidibé and Kwame Brathwaite, and their impact on challenging dominant European narratives.
Written by: Miss Rosen
Reynaldo Rivera’s intimate portrait of queer Latino love
Propiedad Privada — Growing up during the AIDS pandemic, the photographer entered a world where his love was not only taboo, but dangerous. His new monograph presents inward-looking shots made over four decades, which reclaim the power of desire.
Written by: Miss Rosen
In photos: The newsagents keeping print alive
Save the stands — With Huck 83 hitting shelves around the world, we met a few people who continue to stock print magazines, defying an enduringly tough climate for physical media and the high street.
Written by: Ella Glossop
Inside Bombay Beach, California’s ‘Rotting Riviera’
Man-made decay — The Salton Sea was created by accident after a failed attempt to divert the Colorado River in the early 20th century. Jack Burke reports from its post-apocalyptic shores, where DIY art and ecological collapse meet.
Written by: Jack Burke
The quiet, introspective delight of Finland’s car cruising scene
Pilluralli — In the country’s small towns and rural areas, young people meet up to drive and hang out with their friends. Jussi Puikkonen spent five years photographing its idiosyncratic pace.
Written by: Josh Jones
