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Sahara Diaries, Part 1: Marrakesh to Zagora

This is the first part of a six-part series on our camel trek in the Moroccan Sahara. The addi­tional entries will be posted each day over the next week. After that, you can see all six here.

Morocco grand taxi.

The view as I wrote the first draft of this entry into my little, boun­cing notebook.

May 13, 2010

As I write this we’re only about two hours into our great Sahara adven­ture and it’s already the high­light of our Morocco trip. We’re in the back of a grand taxi—one of Morocco’s inter­city shared taxis—speeding toward the small village of Tamegroute, where we will hope­fully meet our desert guide and hop into a 4WD to head into the dunes.

After scour­ing the over­priced tours avail­able in Marrakesh, we decided to simply head to the desert on our own in the hopes of arran­ging some­thing on the ground. That has proven to be a good decision.

In Marrakesh we found several travel agents, who prac­ticed varying-intensity ver­sions of the hard sell, most of which we found in dirty, hot offices. One of them seemed to offer an excel­lent service, but at some-9,000 Moroccan dirhams for four day/three nights, was way out of our budget. Nine thou­sand dirhams is equi­val­ent to about 900 Euros, or about $1,150 CDN. We hoped to spend less than half of this.

Anyone seeking a Sahara exper­i­ence in Morocco has to make one big decision: go to Erg Chigaga, near the village of M’Hamid, or head for Erg Chebbi, near Merzouga. Erg Chebbi is the common choice, and has a bit more tourist infra­struc­ture and more oper­at­ors, but tends to also be a bit more over run by vis­it­ors, which, accord­ing to The Book (Lonely Planet’s Morocco) can spoil the romantic des­ol­a­tion of the desert. As such, I was fairly set on making the slightly more dif­fi­cult voyage to Erg Chigaga in the south. Our plan was to take the bus from Marrakech across the Atlas Mountains to Ouarzazate (“War-za-zat”), through to Zagora, and then finally into M’Hamid, where we would spend the night, find a trek oper­ator, and head out into the desert.

The scenery on the long bus ride from Marrakesh to Zagora was unlike any­thing I’ve ever seen before, at times like the American desert in the Southwest, at others like pic­tures I’ve seen of the Nile river, but mostly wholly unique. No written descrip­tion can evoke the sense of awe we felt in cross­ing the harsh and rugged Tizi’n’test Pass, the road lit­er­ally perched atop a moun­tain ridge falling away for hun­dreds of meters on both sides. Words can’t capture the abject terror of peering down 1000-foot drops from the cramped seat of a swaying bus while the driver seemed more intent on beating his own pre­vi­ous record of passing on blind corners than in actu­ally ensur­ing his cargo arrives in one piece, or the wonder of the lush green palmeraie (palm grove) growing like a miracle along the length of the Draa River Valley.

Our bus ride was about nine hours. This woman was sitting in front of me for most of the way. Her hands are stained with henna and, pre­sum­ably, other natural dyes.

The lush palmeraies are warrens of agri­cul­ture and devel­op­ment, includ­ing roads, mud­brick walls to demarc­ate prop­erty and all sorts of clever irrig­a­tion. Unfortunately, the Berbers who have been farming here for gen­er­a­tions are facing the same prob­lems of her­it­age that other cul­tures face. Each gen­er­a­tion splits their land hold­ings among their sons, and now each holding is getting too small for each family to live off of.

Palm trees along the Draa Valley.

Another Draa landscape.

About eight hours out of Marrakesh we dis­em­barked with relief in Zagora, rather than going the addi­tional hour and a half all the way to M’Hamid. The bus ride had been long, at times fright­en­ing, and very dif­fi­cult for Laura, who was suf­fer­ing from some car sick­ness, and we figured (cor­rectly) that there would be more options for acco­mod­a­tion and tours in the much-larger Zagora.

Zagora is a small, dusty city that ori­gin­ated as a launch­ing point on the desert caravan route across the Sahara, was of some import­ance as a French colo­nial outpost during the pro­tect­or­ate and now seems almost wholly ded­ic­ated to getting tour­ists into the desert. We were beset imme­di­ately by a friendly but per­sist­ent tour oper­ator named Younes, who insisted on walking us to our hotel and made a some­what heavy-handed effort at booking us on one of his desert excur­sions. We spent the night at a budget hotel, with plans to rise early to meet Younes and check out the other options in Zagora. After con­sid­er­a­tion and some pre­lim­in­ary bar­gain­ing, we politely declined, and even­tu­ally booked with a much more laid-back oper­ator named Mohammed, who not only beat every­one else we scoped out in price and friend­li­ness, but also offered to extend our plans by one day at no addi­tional cost.

For 4,000 dirham (about $500 CDN), we booked a 5-day/4-night camel trek, includ­ing a brief tour of the local palmeraie, as well as an old Jewish Kasbah where skilled artis­ans still create jewelry using the tech­niques of the long-gone Jewish res­id­ents. Mohammed walked us through these places this after­noon, explain­ing that many people, himself included, still call this 300-year-old fort­ress home. Tonight we sleep in a Berber tent in the desert, in order to be able to leave first thing in the morning on our trek. As we under­stand it, we will rise each morning with our guide, pack up camp, and mount the camels for a three or four hour ride (sup­ple­men­ted with some walking), before stop­ping for a long mid day break, and then doing a similar trek in the after­noon. Our goal is the great 300m dunes of Erg Chigaga, some 60 km into the desert from our base camp. After the crush of the tourist hordes in Marrakesh, we are actu­ally thank­ful that our plans don’t include air-conditioned coaches or loud tour groups.

This man showed us around the jewelry work­shop and show­room. He was very friendly.

Some of the knick-knacks on offer in the work­shop show­room we visited.

This fellow hand-pours silver and other metals into cusotm molds, and then stamps them with custom designs in a tra­di­tional artis­anal work­shop that has been in use for hun­dreds of years. Those things that look like Moroccan grilled cheese sand­wiches (Laura’s joke) are clay molds for the jewelry.

So this is how we’ve come to find ourselves in the toasty and cramped back­seat of what has to be the sor­ri­est old station wagon I’ve ever been in. Our fellow pas­sen­gers are three Moroccan men, who along with the driver, have said exactly zero words since we left Zagora. Some Saharian music is blaring through the taxi’s tinny, burnt-out speak­ers, a mix between upbeat Middle eastern techno, African drums and call-and-response singing in what I assume is Arabic. We’re lucky to not be sharing the back­seat with two other pas­sen­gers, as it is not uncom­mon to fit six in a grand taxi. As it is, my legs are basic­ally in my own lap and Laura and I are hunched over to avoid hitting our heads on the low roof with each bump of a very bumpy road.

We are cur­rently ascend­ing one of the last passes over a rocky ridge of jebels before we enter the Sahara proper, and the feeling I have right now is one of the reasons I wanted to travel. It is an intox­ic­at­ing mix of anti­cip­a­tion, excite­ment and curi­os­ity, with an added sense of accom­plish­ment for decid­ing to come out to this remote place, and actu­ally doing it; getting past the touts, sales­men and shoddy oper­at­ors trying to snag as many dirhams from each tourist as pos­sible, and making it this far.

Of course, thou­sands of others have made this journey before us, but somehow that doesn’t matter one bit. All that matters is that in a couple more hours we’ll be away from everything, on the edge of the Sahara desert, with only the stars and the sand, and a guide who sup­posedly even speaks some English.

Boys playing football.

A hotel in the lush Draa River Valley. I shot these from the bus. The tinted windows acted like huge polarizers.

An old Kasbah in the Draa.

Another old fort­ress of some type.

These Arabic scripts dotted the land­scapes in many loc­a­tions. Although I’m not sure about this one, a gen­tle­man we met in the Gendarmerie told us they gen­eraly say things like “Allah, Morocco, and King Mohammed VI” — as in, “Long live” these things.

The con­trast between the dry, the lush, and the rugged moun­tains were what set these land­scapes apart from any­thing I’ve ever encountered.

Getting dryer...

This is just one part of a six-part series on our camel trek in the Moroccan Sahara. To read the full story, please click here.

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A Month in Lanciano

Our birthday cake.

I know I can speak for Laura as well when I say that we found it dif­fi­cult to leave Lanciano.

As I write this, we’re speed­ing north in a cozy train com­part­ment toward Piacenza, Italy to see our friend Christine. Laura is napping on the seats across from me, lines of sun­light and shadow moving lazily across her face as the train rounds a bend. The view is a blur of green, with olive groves, winer­ies, and dis­tinctly Italian villas giving way peri­od­ic­ally to sleepy towns of squat, graffiti-clad con­crete build­ings and ancient looking stone houses. Across the aisle I see nothing but blue sky and the slowly lapping waves of the Adriatic Sea. I know I should be excited to be back on the road, but I can’t help but feel like we’re leaving some­thing behind that’s not easily found. Or replaced.

Cris met us this morning at the Mercato, where we enjoyed our last Cappucino in Lanciano. Coffee at the D’Alessandro’s market has been one of our daily rituals here, and the bar­tender Shamim makes them better than anyone in town. Parting with Cris at the train station was bit­ter­sweet, as parting with friends always is. But I think it’s the sense of com­munity, of belong­ing to a place and a time and a group of people that we’ll miss the most.

Cappucino

Shamim at the Mercato Coperto makes the best cap­pu­cino in town.

We’re cur­rently at the end of Month 4 without full-time jobs or a home, and both of us have started feeling tinges of home­sick­ness and a subtle longing for those parts of living that a stable home life, work life, and friends and family provide. Thanks to the D’Alessandros and the cast of char­ac­ters asso­ci­ated with their life in Lanciano, the past four weeks have been a respite for us from these feel­ings. We found friends among the teach­ing staff at CCI, cowork­ers (of sorts) among the Mercato staff as we did our best to help out as needed, and family among the D’Alessandros, people I have been hearing about since meeting Laura almost six years ago, but whom I only really met over this past month.

Cris and Laura with the big frame.

We printed some photos from the family por­trait session for the D’Alessandros, and had this one framed.

We were really lucky to have visited at a time when the whole family was around, and to have been able to integ­rate so much with all the people here. We’ll miss Eligio’s and Mrika’s ciaos at the market, Franco’s whistle (indic­at­ing he has “a little job” for us), Marissa’s hugs, David’s film tips, Tim and Vittoria’s dance moves, Carla and Cris’s sis­terly bick­er­ing, Davide’s impas­sioned speeches, con­ver­sa­tions with Nonno and Nanna, Said’s buffets, poker nights, and a dozen other things and people that made daily life so rich for us.

We really enjoyed helping out as well, in the limited way we were able to. It was a pleas­ure to shoot school year­book por­traits of the stu­dents and staff at the school (with Laura as my fashion and hair assist­ant), and helping out however we could at the market, from unload­ing produce, wine, pasta, and flowers, to making bou­quets (this was firmly Laura’s territory—I was her assist­ant), running sep­ar­ate and very spaced out cash registers during an influx of hun­dreds of pil­grims (despite my nonexistant Italian), or setting up (and taking down, and setting up again) chairs and tables each weekend. Laura also typed up some 500 names and addresses for the Mercato mailing list. We were happy to under­take these tasks; these little jobs allowed us to fit in.

Yearbook shots.

Marissa asked me if I could shoot the year­book pic­tures this year. I did my best to make them con­sist­ent con­sid­er­ing I had no flashes or tripod, and that they were taken over the course of several days as people became available.

Laura stocking wine.

Laura stocks wine in the Mercato. We unloaded several palettes of the stuff.

Eligio the terrorismo.

Our friend Eligio makes like a true badass.

Eligio.

Eligio has been a friend of the D’Alessandro family since him and Davide used to play together as infants. He’s pretty much Franco’s right-hand man at the market and Allegria (hotel/restaurant). This shot is much more indic­at­ive of his warm and cheer­ful personality.

Said and his girls.

The chef Said is from Egypt, and is respons­ible for most of the staff and student meals. We enjoyed his work on pretty much a daily basis. He’s a genius.

Tim and Vittoria.

We had two poker nights while in town. At this one, Tim’s chip pile even­tu­ally included most of his girl­friend Vittoria’s as well. All’s fair in love and poker, I guess.

Cris and her winnings.

But by the end of the night, Cris was the big winner, raking in some 15 Euro in profit.

As sad as we are to leave, we couldn’t have chosen a better note to end on. Laura and Cris have been con­spir­ing over the last week or so to throw a joint birth­day party for Mrika and I, and we had an abso­lute blast this past Saturday night. After a deli­cious meal and a few glasses of red wine in a local res­taur­ant, we moved to the D’Alessandros’ Allegria, where Cris and Laura sur­prised Mrika and I with a fant­astic pastry tart, com­plete with candles to com­mem­or­ated our com­bined age of 61. After Mrika and I made the rounds sharing the leftovers with every­one in the res­taur­ant, we moved down­stairs to dance the night away amidst our own private Balloon Battle Dance Party.

Mrika and I.

Mrika and I blowing out the candles of our joint birth­day cake. I don’t want to give away Mrika’s age, but 30 of those candles are mine, so to speak.

Tim and Vittoria.

Tim and Vittoria at our birth­day dinner. Tim teaches math and physics at the school. Vittoria is a don; she over­sees the girls dorm.

The gang.

The gang sur­prised us with a wall of noise­makers when we finally made it down­stairs for the birth­day party.

Balloon Battle Dance Party

That’s when the wine really kicked in and we had a spon­tan­eous Balloon Battle Dance Party. We acted like chil­dren. It was great.

Carla and her balloon.

Carla smokes David with a balloon of death. Carla was par­tic­u­larly ruthless.

Tim and Vittoria.

Speaking of bal­loons of death, Tim doesn’t just take Vittoria’s poker chips, he also beats her with bal­loons... Actually, these two are ridicu­lously affec­tion­ate and pretty much a perfect couple.

Lanciano is a place that was form­at­ive for my wife while she went to high school, and after meeting some of the people respons­ible for that and getting to be a part of that life, I can finally under­stand why. It truly meant a great deal to us for her to be able to share it with me.

I def­in­itely am excited to be back on the road. We’ve got a week in north­ern Italy ahead, before heading to Morocco, a country I’ve wanted to visit for years, and then Romania, Eastern Turkey and Iran. The next eight to ten weeks may be among the most inter­est­ing and exotic of our trip. But I’m also excited to begin think­ing about once again having a home, whether it’s a tem­por­ary one in Thailand, or a more per­man­ent one back home. We’ve been talking a lot of crazy talk lately about what we plan to do when we do get back to Canada; about the busi­nesses we’ll start, the home we’ll build, educ­tion, chil­dren, and the life we’ll create. We can only hope to find a sense of belong­ing and com­munity as rich as the one we left behind this morning.

Marissa, Franco, Carla and Cris all asked us when we’ll be coming back, and (sep­ar­ately!) encour­aged us to do so when we “run out of money.” While we def­in­itely don’t intend to return under those cir­cum­stances, we will be back some day.

The apartment.

The D’Alessandros gra­ciously put us up in a beau­ti­ful fur­nished apart­ment that happened to be sitting empty at the moment. When we weren’t hanging out or working at the market, we were watch­ing DVDs of the Sopranos and Curb Your Enthusiasm.

Laura

Laura gets dolled up at our swanky pad. I noticed this shot while leaning out of the window admir­ing the view and just had to run and grab my camera.

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Easter Procession

Easter is of course huge for Italy’s Catholic pop­u­la­tion. In Lanciano, where we have been staying for the past week or so, Easter is a week long affair filled with social­iz­ing, shared meals, picnics, and reli­gious pro­ces­sions through the streets, replete with reli­gious arti­facts, cos­tumes and march­ing bands.

On Thursday night before the Easter weekend, the Churches open their doors to display “Sepulchre,” or artistic dis­plays of Christ coming off the cross. Thursday night also kicked off a weekend of pro­ces­sions with a hooded march through the old dis­tricts of the city. The mood was sombre, if not a little eery, with a march­ing band droning in a minor key.

These shots were from that night. The interior shots were from a par­tic­u­larly well-done Sepulchre, and the rest are of the hooded procession.

For a small dona­tion, the faith­ful can light a candle.

Folks exiting the church. I swear they had a fog machine in there.

One par­tic­u­larly pen­it­ent man has the honour of bearing a large wooden cross.

We ran a little wildly through the streets in order to see the pro­ces­sion pass a few more times. This was taken from the CCI school balcony.

The march­ing band fol­lowed behind.

As the pro­ces­sion snakes its way through the narrow streets, it picks up followers.

More of the silent followers.

After the pro­ces­sion, the main piazza was thronged with Liancanese vis­it­ing with each other. This was about mid­night local time.

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Documentary Photography: An Unrealized Ambition

Man with birds. Roma.

I hate when people ask me if I’m a photographer.

Sometimes it’s the gear that prompts this. They see the expens­ive looking camera, or maybe pick up my kit for a moment and are taken aback by how heavy it is. “Whoa! You must be a pho­to­grapher.” Maybe it’s the final shots that have them whoa-ing, but the gear still takes centre-stage: “You’re camera takes great pictures!”

But no, the reason I hate when people ask me if I’m a pho­to­grapher is because I’m not sure what to say. On the one hand, I most cer­tainly am. I’ve shot wed­dings, por­trait­ure, and used my pho­to­graphy as the found­a­tion of several paid graphic design pro­jects. I’ve been paid money to shoot. Simple. But on the other hand, I feel like I’m not really a pho­to­grapher at all. To date, pho­to­graphy has only been a small part of what I do, and after more than ten years looking through a series of increas­ingly expens­ive lenses, I’m still not really doing the kind of pho­to­graphy that has always inspired me the most.

All of my favour­ite pho­to­graph­ers are doc­u­ment­ary pho­to­graph­ers. The famous black and white street scenes of Henri Cartier-Bresson. The blis­ter­ingly vis­ceral war pho­to­graphy of James Nachtwey. The art­fully real­ized wedding work of Jeff Ascough.

Their sub­jects vary con­sid­er­ably, as well as their styles, but there is a thread of con­sist­ency among this type of work that tran­scends styl­istic dif­fer­ences. Unlike fashion pho­to­graphy, most forms of por­trait­ure, and pretty much any­thing done in a studio, quality doc­u­ment­ary work is basic­ally true, at least from the photographer’s point of view. They don’t have the luxury or inclin­a­tion to ask their sub­jects to turn a bit to the left, or take a few steps back or find a more flat­ter­ing angle. Their raw mater­ial is only what’s there at a given moment; the light as the camera can record it. Their medium is the world itself.

Every artist has the power to manip­u­late their audi­ence, and doc­u­ment­ary pho­to­graph­ers are no dif­fer­ent. But com­pared to a painter who can create whole worlds with the strokes of his brush, or a sculptor who can destroy with the driving bite of her chisel, the doc­u­ment­ary photographer’s tool box is much more restric­ted. His only means of manip­u­lat­ing the final image is to choose what to include in or exclude from the frame; what to focus on, what sort of mood to imbue through light­ing, com­pos­i­tion, focal length. And while the simplest of these tools can still be very power­ful means of manip­u­la­tion, they do not carry the god-like cre­at­ive poten­tial of other mediums. Some might think this to be a lim­it­a­tion, but for me it has always been photography’s greatest strength. Art is about inter­pret­ing the world around us; record­ing what we see, sharing how we feel. Documentary pho­to­graphy does this in the most literal way pos­sible. To me, this is the main attrac­tion of the pho­to­graphic medium, and the ideal I have always aspired to in my own style.

I cer­tainly can’t claim to be a pho­to­grapher on the same level as those men­tioned above. More than anyone, I am aware of just how far my work falls short of where I’d like it to be, and this is why I struggle with the dreaded ques­tion. But I am a pho­to­grapher, and although I am not where I want to be in terms of devel­op­ment or recog­ni­tion, I am proud of how far I’ve come. One of my biggest goals during our travels is to chal­lenge myself pho­to­graph­ic­ally, to think in terms of pro­jects not just indi­vidual shots, and to push myself outside of my own comfort levels while behind the camera. Street pho­to­graphy is one way to do this, but it’s not the only way.

I am a pho­to­grapher; one who is becom­ing surer and surer that this work is and will con­tinue to be a large part of my pro­fes­sional life.

Man with bandage. Istanbul.

Woman on cell phone. Roma.

Mother and daugh­ter. Istanbul.

Walking man. Roma.

Three ladies. Roma.

Street per­former. London.

Busy street at sunset. Roma.

Young tour guide. Tloss, Turkey.

Commuter. Istanbul.

Man on bike. Lanciano.

Teenage couple. Roma.

Young woman. Roma.

Couple kissing. Roma.

Man on ferry. Istanbul.

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24 hours in Roma

Your intrepid blog­gers do a self-portrait under the Pantheon’s con­crete dome. The interior of the build­ing looks recently restored, as it is spot­lessly clean. Why yes, I am sport­ing a hand­some mous­tache! I’m flattered you noticed.

Laura and I are killing a few hours here in Rome before catch­ing a bus to Lanciano. We had about a day to take in a few sights and pasta dishes here. After almost 2 months in Turkey, the food here has been a huge delight for us. Pizaa, pasta, beef steak! And the pork! (as a Muslim nation, pork products simply don’t exist in Turkey) Delicious! Don’t get me wrong, Turkish cuisine is great, but any food will get tire­some after eating nothing but for two months.

Rest assured, we will be resting and regroup­ing here in Italy and will catch up on our blog posts, so expect more photos and stories from Turkey as well as the 3rd and prob­ably final instal­ment of the Turkish food series. Here are a few shots from beau­ti­ful Roma.

The photo this fellow is taking seems to be duplic­ated by every second tourist through the Pantheon’s massive doorways.

A woman cruises past the hordes of tour­ists walking on the Via dei Fori Imperiali.

Tourists throng the Via Borgognona leading away from the famous Spanish Steps. Compared to places we’ve been in recent weeks, Rome is abso­lutely full of tourists.

We stopped into San Pietro in Vincoli to see one of Michaelangelo’s mas­ter­pieces, the Moses sculp­ture for the tomb of his Pope and patron, (insert for­got­ten Pope’s name here).

Like every­one else in this city, this couple enjoy a moment taking and review­ing their snapshots.

Another self portrait.

I have several more street pho­to­graphy shots from one day in Rome, but I think I’ll post those a little later as part of a post I’ve been working on regard­ing pho­to­graphy in general.

UPDATE #1: Also, it’s lonely on the road. If you’re reading this, please leave a comment and let us know you care!

UPDATE #2: We totally missed our bus out of Rome thanks to stupid Daylight Savings time. So we could use your mes­sages of support and love more than ever. Especially Laura. She’s been bummed out all day. :(

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