Watch This Is What Winning Looks Like, our new documentary about chaos, corruption, sexual abuse, and the war in Afghanistan.
Then head to Reddit and ask Ben Anderson, the filmmaker behind the doc, a question.
(Source: Vice Magazine)
Peter van Agtmael Won’t Deny the Strange Allure of War
Thus far, photographer Peter van Agtmael’s career has primarily focused on documenting the effects of America’s post 9/11 wars both at home and abroad. Before traveling to Iraq in 2006, however, he covered certain issues surrounding HIV-positive refugees in South Africa, and the Asian tsunami in 2005. After starting work in Iraq, he went on to win numerous awards, work in Afghanistan—both embedded and unembedded—and documented injured servicemen and their families. Oh, and he also shot the photo in the table of contents for this month’s issue of our magazine. We spoke to him about the mysterious attraction of conflict, and the realities of censorship and care for a country’s wounded.
VICE: You graduated in history with honors from Yale. What specifically did you study?
Peter van Agtmael: I studied a pretty general curriculum, that being the expectation. By the time I wrote my thesis, I had decided to write it on how the iconography of WWII Yugoslavia, of opposing forces like the Chetniks and Ustaše, was renewed in the Balkan conflict of the 1990s. How it was used to stoke fear and exploited by the power brokers to wage a civil war.
Do you think that your education led to you working as a photographer in a warzone at the age of 24?
I grew up in the suburbs of Washington, DC. Those suburbs are like suburbs anywhere. It’s easy to want to dream about more exciting places. When I was a kid, I was always very into pictorial history books—especially ones about WWII. I found it all very exciting and romantic, in its own way.
Obviously, you get older and the reality of these things kicks in, but the romance doesn’t go away, even when you get caught in the midst of it; that’s the strange and scary thing. I have had depraved and scary experiences in the last decade, but I’ve had beautiful ones, too. The fact is that when you get caught in the middle of these things, in these places there’s an indescribable merit somehow to feeling involved, to be making a record for history, it is satisfying a certain natural curiosity—one with certain useful impulses, and certain dark impulses as well.
Do you think that built-in fascination with conflict applies to most soldiers, too?
I think it’s across the board. If you have read Michael Herr’s Dispatches, he puts it really well—though it may be a dated reference in some ways. He essentially said that you can’t take the romance out of war. It’s sort of innate. It’s a genetically hardwired part of the experience. We all objectively realize the awfulness and brutality of it, but also for a lot of young people —especially men—there is this draw to it, not at all based on logic or rational thought. There are a million ways to try to intellectualize it, rationalize it, and break it into its tiny component pieces, but at the end of the day there’s a pull that can’t really be described or explained away. At least not for me. I envy people who aren’t drawn to war in a lot of ways. I’ve had a good and interesting life so far, but at times I wish I had made different choices.
Syria’s Refugees Are Trapped Between Hells
I first met war photographer Giles Duley a month ago, to talk about his work both before and after he became a triple amputee in Afghanistan. Giles’s most recent trip since we spoke was to Jordan, where he documented the arrival of Syrian refugees after a long journey across the border. Here’s his account of new arrivals to the Zaatari Camp. – Jamie Collins
The nights become so bitterly cold that I’ve taken shelter in a portakabin staffed by UNHCR doctors. We sit, sipping tea, fighting our tiredness, waiting. It’s nearly 1 AM and there’s still no sign of any refugees arriving. Restless, I go outside to join my colleagues, who are sharing a cigarette in the starless night. Suddenly we are silent. In the distance we can hear buses and then out of that cold dark night they start to arrive. The first to appear is a young girl, maybe five years old, dressed in a cream coat walking with a purpose beyond her years, followed by two young mothers clasping their children, wrapped tightly in blankets to protect them from the cold. They make their way into the large military-style reception tent where they will be processed, fed, given medical attention, and finally allocated their own plot within Zaatari Camp.
I watch as more and more arrive—tens, hundreds and, by dawn, nearly 2,000. There’s man wearing a suit, holding his kid’s hand; an elderly couple struggling to carry their meagre possessions; a pregnant woman in tears; a young man carried across the rough ground in his wheelchair. Each face seems haunted and etched with exhaustion, uncertainty, and fear. The scenes are reminiscent of so many earlier wars, faded black and white images of civilians uprooted and forced to flee with only what they carry. But this is not some terrible past, this is happening now and the war grows more violent and brutal each day.
The numbers are almost beyond comprehension. More than 70,000 people killed, over four million displaced, and more than one million refugees registered by the UNHCR. In Jordan alone, there are 340,000 refugees, many in the tented Zaatari. This number is expected to rise to over one million by the end of the year.
What does “winning” the war in Afghanistan look like? It’s not good.
This Is What Winning Looks Like
This Is What Winning Looks Like
Our new documentary about the end of the war in Afghanistan premieres Monday. Watch the trailer
VICE Podcast 004: Have We Won in Afghanistan?
The VICE Podcast is a weekly unedited discussion that delves inside the minds of some of the most interesting, creative, and bizarre people in the VICE universe. This week we spoke with author and filmmaker Ben Anderson, who has just returned from Helmand, the most violent province in Afghanistan. With US forces withdrawing, most of the country is now controlled by the Afghan government and its security forces. This, it was officially claimed, is victory. Ben’s disturbing new documentary, This Is What Winning Looks Like (premiering Monday on VICE.com), would suggest otherwise.
Chatting About Game of Thrones with Syria’s Most Feared Islamic Militants
“Ameriki?” the jihadi asked, pointing at me with a bemused look on his face. I’d just approached him at a house that serves as the local base for Jabhat al-Nusra (JAN), the most feared Islamic militant group operating in Syria. A month ago, his colleagues took over a street right next to my fixer’s house, blocking it off and hoisting up the black flag that serves as their symbol. They spend their time milling about outside, sometimes riding off in pickup trucks, the beds overflowing with black-clad young men holding RPGs and AK-47s.
Accompanied by a few Free Syrian Army rebels, I was still quite apprehensive about approaching al-Nusra. More experienced journalists had warned me to be wary of them, and the Obama administration had recentlydesignated them as a terrorist group. While the al Qaeda link hadn’t yet been made official, it wasconfirmed a couple of days later. Additionally, I had awoken that morning to the news that the FBI had justarrested Eric Harroun, an American who allegedly fought with al-Nusra in Syria.
Al-Nusra and other Islamic groups showed up in the Syrian border town of Ras Al Ayn in November, and—along with the Free Syrian Army—forced out the remnants of the Assad regime in fierce, block-to-block fighting. Afterward, this coalition fought against Syria’s most powerful Kurdish militia, the Popular Protection Units (YPG). The fighting lasted months before a ceasefire was arranged, and the city was essentially divided in two, with the YPG operating on one side and the FSA and al-Nusra on the other. More recently, al-Nusra had even clashed with an FSA brigade in the nearby town of Tal Abyad, but peace was restored shortly after.
At the al-Nusra base in Ras Al Ayn, the jihadi who had asked me if I was American pulled back his fist in an exaggerated motion, then play-acted punching me when I confirmed my citizenship. The man—a cross-eyed Egyptian who I would later learn served as the group’s public-relations officer and preacher, of sorts—laughed heartily.
“Watch out, we’re terrorists!” his colleague, a lanky Emirati with facial hair reminiscent of Orlando Bloom chimed in, before he started laughing, too. The Emirati then excitedly asked me what part of New York City I was from. “Oh, Brooklyn? Yeah, I know it. I went to school in Seattle for a year,” he said.
This Is What Winning Looks Like: Ben Anderson’s Afghanistan War Diary
above: US Specialist Christopher Saenz looks out over the landscape during a patrol outside the village of Musa Qala, Helmand province. (AP Photo/Rodrigo Abd)
Ididn’t plan on spending six years covering the war in Afghanistan. I went there in 2007 to make a film about the vicious fighting between undermanned, underequipped British forces and the Taliban in Helmand, Afghanistan’s most violent province. But I became obsessed with what I witnessed there—how different it was from the conflict’s portrayal in the media and in official government statements.
All I had to do was trek out to one of the many tiny, isolated patrol bases that dot the barren, sunbaked landscape and hang out with British infantry troops to see the chaotic reality of the war firsthand: firefights that lasted entire days, suicide bombers who leaped onto unarmored jeeps from behind market stalls, IEDs buried everywhere, and bombs dropped onto Afghans’ homes, sometimes with whole families of innocent civilians inside.
In 2006, when troops were sent into Helmand, British command didn’t think there’d be much fighting at all. The mission was simple: “Facilitate reconstruction and development.” The UK Defense Secretary John Reid even said he hoped the army could complete their mission “without a single shot being fired.”
But with each year that followed, casualties and deaths rose as steadily as the local opium crop. Thousands more British troops were deployed, then tens of thousands of US soldiers, at the request of General Stanley McChrystal, following a six-month review of the war after President Obama took office. Still, the carnage and confusion continued unabated. Suicide bombings increased sevenfold. Every step you took might reveal yet another IED.
In February 2013, on his last day at the helm of NATO forces in Afghanistan, General John R. Allen described what he thought the war’s legacy will be: ‘‘Afghan forces defending Afghan people and enabling the government of this country to serve its citizens. This is victory, this is what winning looks like, and we should not shrink from using these words.’’
The US and British forces are preparing to leave Afghanistan for good (officially, by the end of 2014), and my time in the country over the last six years has convinced me that our legacy will be the exact opposite of what Allen posits—not a stable Afghanistan, but one at war with itself yet again. Here are a few encapsulated snapshots of what I’ve seen and what we’re leaving behind.
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