Abdul Jabbar was nine years old when he was given some coloured pencils and asked to draw scenes from his life in Darfur, Sudan. Like hundreds of thousands of others he had been driven from his village in an assault by the Sudanese army and their accomplices, the Janjaweed, meaning roughly “evil on horseback”. Abdul Jabbar was surviving in a refugee camp—but at least he had survived. His drawing records the fates of some who did not.
For instance in one of the pictures, a young child is being thrown into a fire. In the middle of the picture, a hooded man is being shot at close range. Towards the bottom, a soldier is cutting off another man’s head. This drawing, and hundreds of others, were collected by Anna Schmidt, a humanitarian worker. She was there to gather evidence of what had really happened in Darfur since full-scale conflict had erupted four years earlier in 2003. Ms Schmidt remembers that it was the mothers who urged her to talk to the children. “If you really want to know the truth,” they told her, “speak to them. Don’t just take it from us.”
Source: The Economist
The children were asked simply to give an account of life in their villages. Ms Schmidt was shocked by the visceral images they produced. Time and again, the same motifs recur. Helicopter gunships swoop low, bringing fire from the sky even as the people below are still sleeping. Next come the Janjaweed on camel or horseback, followed closely by regular Sudanese troops in their “technicals”, pick-up trucks with heavy machineguns mounted on the back. The detail— down to the flashes on the troops’ uniforms, clearly identifying them as regular Sudanese soldiers—is remarkable. Often the victims are rendered in one colour, while the attackers are rendered in another.