2020: Power, privilege, priorities 

In November 2019, we launched the inaugural This is Gender competition in response to the lack of representational diversity and critically reflective images of gender in global health. In the highly politicised and contested contemporary environment where the very concepts of gender and gender equality, and those who dare to promote it, are under attack worldwide, images that explore gender in all its dazzling diversity are more important than ever. 

We received over 400 submissions from 53 different countries across all 7 regions of the world. By turns playful, poetic and challenging, each image shows us a different face of gender. 

Mobilised into dialogue with one another, the works challenge, confront and complexify the lens through which we envision our gendered world. They hold up a mirror to the diverse ways gender norms –  rigid and fluid, traditional and progressive – are lived and subverted by men, women, transgender and non-binary people.  

Together they tell a different story of gender.

Winning image 

Andrei Liankevich‘s stunning portrait of Maria was selected by our international judging panel for its rich visuals and compelling narrative of hope and independence for elderly women. You can read more about Andrei’s creative process and his winning image in our exclusive Representation Matters interview.

A widowed woman sits at her home in Belarus. Surrounded by flowers, embroidery and teddy bears, she dries grain on her carpeted floor.
MARKEVICH VOLHA FEDARAUNA POSES AT THE HOUSE, (Belarus, 2020), Andrei Liankevich.

Shortlisted images

As the water bends the light, the boy’s submerged body appears enlarged in contrast with the upper part of the head that surfaces above the water. Suspended in movement, his slim arms and angular bones uncannily mirror the geometric and imposing building in the background as though he were attempting to imitate the world that surrounds him.
ADOLESCENCE, (Carinthian spa, Austria , 2018), Stefano Zocca.
Sandra, a midwife's apprentice, massage Angela's sacrum to reduce the pain of contractions.
ALMOST THERE, (Mexico City, 2017), Greta Rico.
Faded tattoos inked over her forearms contrast with her glistening ruby red nail varnish, heavy silver chains contrast with her delicate bra and white dress - the intersection of white, working class masculinity with transitional gender fluidity are laid bare.
JANET AT HOME, (Bransholme, Hull, UK, 2019), Emma Wilson.
Two non-binary people pose in a field in Cape Town bathed in a warm golden light. The scene is both familiar and other-wordly. Around the figures, delicate balls of cotton ethereally float in the saturated sky and among the long reeds.
V UNTITLED- 2018, (Cape Town, South Africa, 2018), Micha Serraf.

A broken system

Our Global Health 50/50 2020 Report paints a picture of a broken and outdated global health system with three major fault lines:   

  1. Historical power asymmetries continue to plague the global health system, which are rooted in imperialism, post-World War II governance structures and patriarchal norms and practices.  
  2. Patterns of privilege drive a troubling lack of gender equality and diversity within global health organisations. 
  3. The global health sector is still failing to take gender seriously and there is a startling mismatch between the global burdens of disease and the stated priorities of global health organisations and funders.

The unequal distribution of power, privilege and priorities is undermining global efforts to reach health-related Sustainable Development Goals and has profound consequences measured in early deaths, unnecessary disabilities, and enduring injustices and inequalities. But change is possible. 

Dressed in a Sunday hat and adorned with heavy gold jewellery, a man poses for the camera. His face, knowingly turned towards the lens shimmers with golden highlighter and blush.
SUNDAY BEST, (Abuja, Nigeria, 2019), Nwando Ebeledike.
In the midst of a power cut, an elderly woman searches for her medicines. The small room is shrouded in darkness, lit only by the bright white light of the woman’s torch that radiates outward exposing the cracked wall, the makeshift shelf and piles of clothes.
WHO’S THERE?, (Varanasi, India, 2014), Dhrubajyoti Bhattacharjee.
Four women are gathered around piles of coffee beans. Their unflinching gaze is turned towards us, confronting our spectatorship of their work.
WOMEN IN COFFEE, (Rwanda, 2018), Varuna Srinivasan.
Harry pregnant depicts the photographer's partner, a trans man, pregnant with their child.
HARRY PREGNANT, (Montreal, Canada, 2015), JJ Levine.
Three Muslim transgender hijras in their room in a Bandra slum, Mumbai, prepare for their evening. The room is cold and sparse, constructed of corrugated iron, makeshift beams and a small window.
HIJRA, Mumbai, (India, 2017), Silvia Alessi.
Behind the translucent blue of the mosquito net, grandfather Chandan Chetri swaddles his young grandson. Shrouded in the orange fabric, the boundaries between the bodies of the grandfather and grandson are blurred, and we’re encouraged to meet their direct gaze
TEA WORKERS, (Srimangal district, Bangladesh, 2017), Suvro Paul.
A woman sits in the park with her dog. She poses demurely towards the camera and smiles while her dog takes refuge from the sun on the shaded ground. It is a familiar image, not dissimilar to a thousand family snaps.
IN A PARK IN LOS ANGELES, (Los Angeles, California, 2019), Isabella Gomes.
A male actor in his dressing room prepares for his role in the Kathakali dance. Adorned in an elaborate costume and applying thick, stylised make-up, the figure encapsulates a different kind of gender expression.
FINAL TOUCHES, (Kerala, India, 2019), Sunayana Dhang.
This is Simone. Simone is in their dressing room preparing for the evening’s performance. We catch them at the beginning of their transformation, standing in front of a mirror. Whitened face and thick and dark painted eyebrows.
SIMONE, (Turin, Italy, 2017), Loredana Celano.
A husband and his transgender wife stand in front of the home that they have shared for 40 years in Karnataka, India. In front of their vibrant home, the couple stare out towards us. Their stance is defiant as they pose squarely towards the camera.
LIFE PARTNERS, (Karnataka, India, 2019), Digwas Bellemane.

Power, privilege… and photography 

How do photography and, more broadly, representational practices influence, reinforce, and complicate patterns of power, privilege, and priorities?

Photography is a tool of political, social, and representational power.

To take a photo freezes a moment in time, creating a space for encounter and contemplation. Each photograph carries a network of historically specific interpretations and contexts. What is made visible in the frame and what is left unseen shapes the social and political relations between the subject and the observer.

When we share an image with a wider audience—through marketing materials, reports, websites, or social media—we consciously and unconsciously enforce a particular perspective shaped by the politics of representation.

Power, privilege, and priorities are embedded in photography at every stage, from production and distribution to exchange and consumption.

Hunched over the broom, a woman scrubs a mat. Next to her, a young girl squats, barefooted, scrubbing the soapy water. In the cold, corrugated setting, a warmth radiates from the two figures, who smile awkwardly as they clean.
ROMA, (Naples, Capodichino, Italy, 2001), Alzira Della Ragione.
A young boy transforms into the Goddess ‘Kali’ for a festival in a village in Birbhum, West Bengal, India. His face is painted and adorned with patterns. He stares directly out towards the spectator
THE VILLAGERS, (Birbhum, West Bengal, India, 2018), Indranil Sengupta.
Shot at the shores of Lake Elementaita in Naivasha, Kenya, Kennedy and the boys bask in the warm waters, behind women are busy washing clothes.
LAKE ELEMENTAITA, (Naivasha, Kenya, 2019), Anwar Sadat Swaka.
A woman hawkes Fura, a type of dough ball made from millet and a popular snack in Nigeria and Niger, in Karu, Nigeria. Framed by the tall stems of vibrant green crops and starkly backdropped by the cerulean blue sky, her figure appears elegant and graceful - the red, billowing fabric of her clothes compositionally echoing the shapes of the field around her.
UNTITLED, (Karu, Abuja, Nigeria, 2019), Oderinde Seun.

A young girl flourishes a fan above the smouldering wreckage of the Paranaque City landfill. Her small figure, frilly clothes and ornamental fan silhouetted against the darkening sky dramatically frames the uncomfortable reality of the landfill
INNOCENTS IN THE SLUM, (Paranaque City, Philippines, 2018), Rene Bernal
A woman wearing traditional masculine attire smokes a cigarette and sips on dogoyaro, a popular drink made of mixed liquors. Wearing the agbaba and cap and indulging in the traditionally ‘masculine’ habits of smoking and drinking.
DOGOYARO, (Benin City, Edo State, Nigeria, 2019), Nnebuifé Kwubéi.
Humphrey Ndebele, Khotso Rams, Tsepo Kgathlane and Debbie Molefe pose together at “The Fetish Ball” competition.
LE GRAND FETISH BALL, (Johannesburg, South Africa, 2019), Andiswa Mkosi.
The Prince langours provocatively across the draped fabric in a gesture towards the contemporary racialised and effeminised narrative of Asian men.
THE PRINCE, (Japan, Tokyo, 2013),
Camilla Douraghy.

The Judging panel

Special thanks to our panel of international experts who helped to shape the exhibition and reflect on our own representational practices.

James Chau, host of The China Current; World Health Organization and UNAIDS Goodwill Ambassador

Yagazie Emezi, artist and self-taught documentary photographer, based in Nigeria

Elena Fortes, co-founder of No Ficción and Ambulante, Mexico’s largest documentary festival

Sahra Mani, an award-winning filmmaker, university lecturer and founder of Afghanistan Documentary House.

Where next?

Dive into the visuals and data of our Global Health 50/50 2020 report: Power, Privilege and Priorities.

Dive into the creative processes, visual ethics, and exclusive behind-the-scenes details of selected images in our Representation Matters series.

Interested in guest curating a story for our platform? To express interest in curating your own story, contact our curator, Imogen Bakelmun, at imogen.bakelmun@globalhealth5050.org.

For inquiries about This is Gender 2020: Power, Privilege and Priorities contact our curator Imogen Bakelmun at imogen.bakelmun@globalhealth5050.org