Muzafar Ali has won international recognition for his dramatic photographs of the beauty of his homeland, Afghanistan. The striking images of the people and landscapes of some of the remotest parts of the country draw audiences to consider our shared humanity. A former refugee, Muzafar’s creative practice emerges from a deep sense of social justice, refugee advocacy and human rights. His experience of multiple displacements and the trauma of war means that his photography is rich with empathy for the people whose lives he has captured. His art invites us to connect with the Hazara people as they go about their daily lives and persist in the face of adversity.

The artwork below showcases a key theme in Ali’s life and mission—enabling the agency of those who are often regarded as helpless. Images of children walking purposefully together presents a powerful vision of hope for the future and progress into a new era. White scarved, Daikundi girls on their way to school and boys celebrating Ashura are striving onwards to make their way despite the troubled world around. The striking colours of Hazara clothing stands out against the sand of the desert and the rugged teeth of the distant snow-capped mountains—a celebration of the beauty in life and human resilience. Ali’s portraits of children in Khedir look with direct gazes, full of intent and purpose challenge the viewer to action. What, they ask, are you doing?  

No less startling are the images of the vast Bamyan valley and the empty caverns where 6th century Buddhist statues stood over 50 metres high until destroyed by the Taliban in 2001. The gaping hole in the side of the vast mountain range, with cave homes where Buddhist monks once dwelled, tell of ancient cultural connections across Eurasia. Ali’s image of the now-empty giant niche shows humanity resilient amidst majestic mountainous terrain and in the face of seemingly insurmountable hardships.

Ali’s art below invites us to connect with the personal lives of the Hazara people who prevail in the face of great odds and whose lives are connected to the majestic land that is Afghanistan. When placed alongside his photographs of Australia—we see the common humanity of the people of Afghanistan and Australian. In advocating for refugees and their agency, he promotes education for all and calls us to build a greater understanding of the refugee journey. Working with Windmill Theatre in Adelaide, Ali’s personal knowledge of the struggles unaccompanied minors experience navigating their lives as refugees has resulted in a play, Amphibian (run in 2018 and 2021). Building connections between people and communicating across cultures is central to Ali’s artwork.

Panjao Village in Winter, 2009
The ethnic Hazara minority mainly live in the isolated and largely inaccessible Central Highlands region of Hazarajat. People living in Hazarajat experience long winters and extreme conditions. Many Afghani government politicians from came to power promising Hazarajat voters that they would ‘free them from this geographical prison’. Sadly, the promises were not kept, and the region received very few development projects.

Bamyan Sunset, 2009
Bamyan was once a thriving Buddhist city on ancient Silk Road where for centuries two giant Buddha statues, carved into the rocks, looked out across a prosperous, beautiful valley. In 2001, these ancient monuments were blown to pieces by the Taliban. Taliban also massacred hundreds of Hazaras in Bamyan. The Taliban’s return to Bamyan in 2021 has led thousands of Bamyanis to flee their hometown in fear of another massacre—the wounds, horror and terror of 2001 are yet to heal.

Students, 2006
Students from Nili, Daikundi are returning home after school. In 2006 in remote Daikundi, more than half of the students were female.

On 17 August 2021, just two days after taking control of Daikundi province, Taliban fighters beat up two young girls for being in public without their traditional dress because for they thought the girls’ clothing was not Islamic enough.

Children from Khedir District, 2007
Curious children from Dara Khudi valley of Khedir district in Daikundi province pose for a photo.
The Taliban took control of Daikundi province on 15 August 2021. On 30 August 2021, they moved into Khedir district and killed 14 people from one village. They killed 12 unarmed soldiers and two civilians, including a young girl.

Yousuf’s Family, 2007
Yousuf is from remote valley of the Miramor district and is pictured after walking for fourteen days to Nili, the provincial capital of Daikundi. A local commander confiscated his ancestral land, and he marched to Nili to lodge a complaint at court. Despite the United Nations monitoring Yousuf’s case for years, he was unable to reclaim his land. He said, ‘I brought my daughters with me because the commander could take the girls just like he took my land’.

Untitled, 2008
This Hazara girl is from a remote valley known for its natural beauty in the Central Highlands of Hazarajat, Afghanistan.

People of this valley are known for their bravery in fighting against Taliban alongside US and Australian forces. The Taliban targeted these people at every opportunity.

Now that the US and international forces have left Afghanistan, both soldiers and the ordinary people from this village are at great risk of persecution.

To protect its residents, the photographer does not identify this valley, but remains in contact with the soldiers and is working to save their lives through Australian and US humanitarian visa programs.

Girls in Rain, 2007
Young students take shelter from the rain before returning home.

After two decades of peace and freedom, the future for these young girls is absolute darkness. The Taliban have restricted girls’ education again.

Shakar Dara Students, 2008
Students from Shakar Dara valley of Daikundi province.

Women and girls enjoyed considerable freedoms in remote Daikundi province. They attended schools and were employed outside the home. In retaking this province, the Taliban have imposed strict rules limiting women’s movements and running counter to more open local tradition and customs.

Ashura Procession, 2011
Young Hazara children march in the annual Ashura procession in Daikundi Province. After generations of persecution and systematic discrimination, Afghanistan’s post 9/11 constitution acknowledged Shia as a official, legitimate branch of Islam. With this ruling, the mostly Shia Hazaras, were allowed to enjoy religious activities, such as Ashura, for the first time in their lives. The Taliban, however, regard the Shia as not being true Muslims.

Nawroz Celebration, 2009
Women celebrate Nawroz (Afghan New Year) in Bamyan. They rush to touch the sacred flag to secure blessings for the coming year. The men wait their turn outside the gates.  

The Taliban consider Nawroz to be an un-Islamic celebration. Neither do they allow women to participate in public events. Under Taliban rule, these Bamyan women will no longer be able to seek blessings from Nawroz flag.

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