Tag Archives: slumdwellers

Visiting Mundka, Delhi’s Plastic Recycling Center

P1010025Delhi We climbed onto the first Delhi Metro train at Nehru Place and after three more train transfers on this fairly amazing and new subway system, we had reached the very end of the line in Mundka in the Delhi suburbs.  I wanted to see what Kaveri Gill in Of Poverty and Plastic had called perhaps the world’s largest plastic recycling hub, and certainly the center of this huge industry in Delhi, one of the world’s largest cities in a country where 70 to 80% of what can be recycled is recycled (compared to 7% in the USA for example!).  I had first been tipped off to this book while meeting with Delhi-based author and former USA community and labor organizer (and current Social Policy contributor), Mridula Koshy, on my last visit to the city, and the book had proven invaluable in helping me understand the economics and markets where our waste pickers were critical field troops.

Leaving the Metro, we then walked several kilometers along the bustling highway until turning left into another world.  Kilometer after kilometer, cheek to jowl, behind every wall, lean-to, and scrap of fencing were acres and acres of plastic recycling sorting areas, piled high in all varieties and bundled nearly to the sky.  Workers swarmed among the mess, sorting items, stacking with the claw hooks associated in another time with dock hands, and piling all of these items onto carts, bicycles, and trucks.  Here there would be a 30 foot high stack of plastic car fenders, there would be a small mountain of old plastic sandals or shoe soles, and everywhere plastic bags, electronic items, TV set covers, and the like.  Take all of this and multiply for miles!  It was breathtaking in every way.  Workers pointed out to us the slums not far away where 4000 wastepickers lived nearby who worked in the sorting and stacking.

P1010024For 90 minutes we never stopped walking in a giant circle that took us from several kilometers from the end of the Mundka line back  and around to the previous subway stop, and as much as we had seen, we hardly touched the surface of this huge plastic recycling hub.  This was not an area where brokers sad with old scales, but where there were regular scales which weighed entire truck loads of plastic goods as they came in and out.  The plastics would only be interrupted by street vendors serving lunch on the sidewalks to the workers or shopkeepers nestled between plastic yards selling their wares.

We were oddities.  Taking pictures here and there and talking to workers and brokers seemed strange to them.  ThisP1010017 was a separate world and we were visitors from the other planet where the goods began their route.  All of what we saw though was simple a stage of the process.  Once assembled and sorted here, then sold and stacked, these trucks were headed to the plants that would reprocess the plastics into new products.  We didn’t go there this trip, but we were confident that wherever the plastic was heading, it would be back here again some day.


Waste Land

New Orleans This had to be a hot ticket! waste-land-poster-691x1024

Waste Land was an Audience Award Best Documentary (Waste Land Trailerat the prestigious 2010 Sundance Film Festival focusing on a powerful confluence of art and poverty and the lives of waste pickers in one of the world’s largest landfills, Jardim Gramacho, outside of the magical city of Rio de Janeiro. Given ACORN International’s work in organizing the same kind of recyclers in the Mumbai’s Dharavi slum, Delhi, and elsewhere, I could hardly wait to see how the catadores might be different than our cartoneros in Buenos Aires or rag pickers in India, so I jumped at a notice in the paper that the movie was showing at Zietgiest, a film center in downtown New Orleans.

It turned out I was crowded in with 7 other stalwarts in a cold and cavernous warehouse space on Aretha Haley (old Dryades Avenue) right off the CDB, but so what…it was wildly worth it in some strange ways that were surprising to me.

As a disclaimer I should admit that the documentary produced by our friends in Mumbai called Waste which follows a couple of ACORN International’s waste pickers is my personal favorite, but I’m open minded. The work is hard and it couldn’t be easier than to see it sitting in New Orleans no matter where, rather than schlepping down to Rio and walking the turf with the pickers.

My first reaction was one that I’m sure few would have: I couldn’t believe how good the pickers had it in Rio! They were gloved up, well shod, and easily visible to the truck drivers with their bright vests. They reportedly made between $25 and $30 USD per day, which also makes them the crème de la crème of the world’s waste pickers. In India our pickers make $3 to $5 and winning gloves and protection of any kind has been a struggle everywhere.

I might also be the only viewer who sat up straight and was ready to roar and applaud when I could see their association t-shirts and realized that the main character of the movie (other than the artist of course!) was one of the co-founders and leader of the association of pickers of Jardim Gramacho! The documentary was straightforward and respectful of the organization, which had undoubtedly been the driving force hopefully winning the protections I had noticed so vividly.

I guess I should admit that the movie is not about any of this and I dare say, if it were, it would not have been such a big winner and audience favorite, but it was nice to see that they didn’t blink stutter, or step back. The real theme was that a hotshot photographer/artist named Vik Muniz, a decent and talented guy with a riveting tale of his own journey from lower income Sao Paolo to a nice studio that looked like it was in the Williamsburg area and definitely in Brooklyn, decided to combine his art with an agenda of raising money and making some life changing differences in a few lives. Taio, the head of the union, became one of the half-dozen pickers paid to come out of the dump for a couple of weeks to pose and finish portraits of themselves in classic art book poses decorated with recyclable materials from Jardim Gramacho. The pickers were almost unreal in the sense of how physically beautiful they were, as if anyone could even wander into the heart of one of the worst garbage dumps in the world and find models. In London at the auction of some of the finished art, Muniz kids Taio at one point of looking like Lenny Kravitz, if you get my drift. This is art taken from life, not life coming to art.

Nonetheless, the movie is less about poverty than having poverty as the backdrop. It is about transformation and seeks to tell a story of how the process of producing this unusual art changed their lives in some cases forever. So though the association was also part of the background for the documentary, there was no pretense that anyone’s lives were changed, or perhaps modified, by the experience and the transcending gift of copies of their own portraits and art, than these half-dozen, and that was OK. The film pretended no different. Muniz and his art raised $250,000 the final credits said and the exhibit in the Rio museum was seen by a million Brazilians, and that’s some powerful art joining with social change. Furthermore, the money seems to have gone to the work of the Association in trying to find a future for other pickers since the land fill is projected to close in 2012.

It’s a movie. It’s not organizing.

But it’s a great movie merging art and organizing and an artist without much pretense who loves the life he’s build and brings joy and hope to the enterprise. \

Waste Land deserves to have a big audience not a handful here and there, and I hope it finds one, while I try to figure out how to use these tools to build the work and the art of organizing.