- First edition of 950 copies
- Hardcover, 128 pages
- Self published, 2014
- Copies show some minor bumps and shelf-wear to boards, interiors clean and crisp
Traveling through China’s far western province with a box of prints, a pair of scissors, a container of glue, colored pencils, and a sketchbook, I asked willing collaborators to draw on, reassemble, and use their own tools on my photographs of the region. I hoped that the new images would bring Uyghur perspectives into the work and facilitate a new kind of dialogue with the people I met—one that was face-to-face and tactile, if mostly without words.
An allegory, retold through visual collaborations with Uyghurs in Xinjiang. Original story by Nurmuhemmet Yasin
Design by SYB.
The Xinjiang Uyghur Autonomous Region is a remote province, 2,000 miles from Beijing. Drake visited many times between 2007 and 2013, staying in Uyghur villages and cities on the edge of the Taklamakan desert. The landscape changed on each visit – historic Uyghur neighborhoods were being torn down and rebuilt as modern Chinese cities, a result of government development policy. Uyghurs moved from houses with shaded courtyards into apartments, and more and more Han Chinese filled the streets, drawn by jobs in schools, construction, and companies extracting natural resources from the land. In 2009, there were riots in the capital of the province, Urumqi, and hundreds of people died. Uyghurs were not permitted to speak about it.
The political barriers also became impenetrable for outsiders. Uyghurs who carry on extended conversations with foreigners risk police interrogation, and foreign journalists are routinely followed and thwarted. Meanwhile, some Uyghurs are opposed to artwork (including photography) depicting living creatures, since only Allah has the power to give life. Drake began to look for meaning at the intersection of Uyghur views and her own, and to seek ways to bring the people she was meeting into the creative process. Traveling with a box of prints, a pair of scissors, colored pencils, and a sketchbook, she asked willing collaborators to draw on, reassemble, and use their own tools on her photographs.
Looking for inspiration in Uyghur approaches to storytelling, she also collected Uyghur music and literature. Among the works that stood out was Wild Pigeon, by Nurmuhemmet Yasin. An allegory of the Uyghur experience, it circulated widely after its publication in 2004, but it was met with disapproval by Chinese authorities. Yasin was sentenced to ten years in prison for “inciting separatism.” He is one among many who have been imprisoned under this charge. Yasin's status today is unknown.