The Curse of Geography is an on-going series of investigative projects focused on the relationship of geographic isolation or proximity on social justice, human rights and public policy in selected locations around the world. Our reports are produced in multi-media format and in partnership with artists, journalists, NGOs, academic and cultural institutions, and news outlets.
The second instalment in this series focuses on Western Newfoundland, a region in Newfoundland & Labrador, Canada, and the significance of the fishing industry to its local economy and culture. During the early 1990s, Newfoundland cod stocks were at the brink of extinction. A moratorium was placed on cod fishing in Newfoundland, an action which resulted in the “largest mass layoff in Canadian history.” Told through text, interviews, illustrations, and short videos, The Curse of Geography: Western Newfoundland explores several facets of these coastal communities, and the way their lives, communities, and livelihoods have been shaped and impacted by overfishing, policy, and regulation.
The full text of the piece on Western Newfoundland, including videos and illustrations, can be accessed via the Curse of Geography website. The first piece in the series focused on La Mosquitia, the far eastern coast of Honduras.
Sidd Joag is a visual artist, journalist and producer working on issues closely related to social inequality and human rights. He is the Managing Editor at ArtsEverywhere and a member of public art collective Amber Art & Design.
Rebecca Peeler is a New York City based freelance journalist who has reported on issues addressing health, environmental, and social concerns. She is currently pursuing a degree in Traditional Chinese Medicine, which has allowed her to explore the idea of holistic remedies and how they serve and function in our society. Rebecca has a M.S. in Journalism from Columbia University and has worked for digital and broadcasting agencies in the U.S. producing short documentaries.
German Andino was born in San Pedro Sula, Honduras, in 1984. He studied Systems Engineering, specialized in Graphic Arts, and later spent months traversing Buenos Aires and one of Tegucigalpa's oldest neighborhoods. Using his command of English and access to the people of the streets, Andino worked for years as a "fixer" to foreign reporters trying to tell the story of Honduras. As reporters came, and went he kept documenting the lives of the first gangs to take control of the city. He decided then that it was time to decolonize the narrative, and that the story of Honduras should be told by Hondurans. He chose photojournalism as the best platform where the Hondurans could see themselves.