An Interview With: Noory Taha
The Sudanese Photographer who is Giving a Voice to the Voiceless.
Noory Taha is a Sudanese documentary photographer and filmmaker renowned for his compelling portrayal of the untold stories of his homeland. Over the past decade, Taha has dedicated himself to capturing the experiences of refugees and the impacts of natural disasters and conflict in Sudan. His work is distinguished by its authenticity and emotional resonance, providing a powerful lens into the lives of displaced communities and those affected by the region's ongoing crises.
Taha's approach to photography is deeply rooted in a commitment to genuine representation, countering the often-manipulative use of images in conflict zones. His recent project, "Chronicles of Untold Markets," emerged during a period of intense conflict in Sudan. Relocating to Karima amid the war, he turned to his phone to document the everyday lives of local residents. This project reflects his dedication to capturing real, unfiltered experiences and offers a unique perspective on the human cost of the conflict.
Authenticity is central to Taha's work, as he strives to shed light on the diverse and complex realities of Sudanese life. His photography challenges viewers to look beyond superficial differences and appreciate the shared humanity of those portrayed. By presenting a nuanced view of Sudan, Taha aims to inspire empathy and foster a deeper understanding of the region’s rich cultural tapestry.
Currently based in Malaysia, where he is pursuing a master’s in global marketing, Taha remains focused on his goal of returning to Sudan. He is committed to continuing his work and hopes to inspire a new generation of Sudanese photographers. Taha’s photography not only documents the resilience of Sudanese communities but also serves as a vital tool for highlighting underreported narratives and encouraging a more compassionate global perspective.
901: To start, could you tell us how you began your journey in photography? What inspired you to pursue this path, and were there any early influences that shaped your vision?
Noory Taha: My journey started over 14 years ago, during the last years of my university degree. Back then, I was deeply passionate about the visual aspects of media in general, not just photography. A few of us students decided to create something new, and we started a small group with just two cameras, neither of which were mine. We photographed events and shared them on a Facebook page. To our surprise, the page gained popularity, and by the time I graduated, I had significant exposure in event photography. Over time, I explored various styles and eventually found my true passion in documentary and street photography.
Many people became familiar with your work during your time in Sudan, particularly with the ongoing conflict. You wrote about your experience in April 2023 and how it influenced your work. Could you elaborate on that?
Before I dive into that, I need to provide some context. I returned to Sudan in 2016, and there were several interruptions due to political instability: the revolution, the 2021 coup, even the coronavirus. However, despite all of that, things were going well by 2023. I had a thriving business with lots of clientele, including many NGOs and international organizations. But when the war started, everything changed. Initially, I thought it would be just another brief disruption, but as the conflict escalated, I realized it wasn’t going to be like before. About nine days into the war, I relocated to Northern Sudan, to a city called Karima. There, life was different. It was more of a village, and I had left everything behind, including my photography equipment.
In Karima, with nothing much to do and limited resources, I started using my phone to document the stories of the people around me. It was a unique experience because, for the first time, I wasn’t just visiting; I was living with these people, eating with them, and seeing life from their perspective. This close engagement led me to document their stories through photography, even though I usually work with video. Photography felt more powerful in capturing these moments. I was really curious about the people around me, which is where the title for my stories came from. It was called ‘Chronicles of Untold Markets’.
Authenticity is crucial. The war in Sudan saw a lot of manipulation in the media, especially with photography. Photos were taken out of context, reframed with misleading captions, and spread across platforms like TikTok. Some of my photos, taken years before the war, were used for propaganda. That’s not how photography should be used. It’s a beautiful art form that should be employed to create a positive impact, not to deceive.
Speaking about impact, what messages do you hope to convey through your photography? What are the underlying themes that are important to you when telling your stories?
The most important message in my photography is the acceptance of diversity. This encompasses compassion, love, and understanding. Having travelled across Sudan and met people from all walks of life, I’ve learned that most people don’t care about your background—they see you as another human being. That’s the message I want to convey: to look at the person in front of you beyond their external identity and to appreciate the diversity in our communities and the world. It doesn’t matter whether the person in front of you is a man or woman, dark-skinned or light-skinned, from the South or the North. Be kind to them because they are another human being.
In the context of the ongoing instability in Sudan, how do you hope your photography contributes to the broader conversation around the conflict? Is that something you consider when capturing images?
There are two ways to look at this. On one hand, my work has resonated deeply with people inside Sudan, especially when my pieces were translated into Arabic and shared widely on social media. These stories give people hope, which is crucial in such difficult times. On the other hand, I wanted the world to see Sudan beyond the headlines of war and conflict. I didn’t want this war to be forgotten or dismissed. Photography can keep these stories alive and ensure that the world remembers.
On a personal level, how has documenting these stories affected you? How do you stay motivated to continue?
Being deeply engaged in this work has changed me. At first, I thought using a camera in such sensitive situations would be intimidating, so I started with my phone. That allowed me to focus on the story rather than the technical aspects of photography. Over time, I’ve stopped worrying about technicalities and instead focused on capturing the essence of the moment. For instance, I made the conscious decision to not worry about the lighting so much because that can be revisited later on. What’s more important is getting a photo that conveys a story. This approach has led to some of the best work of my career.
Are there any particular photographs or stories that are especially meaningful to you?
Yes, there’s one that stands out to me, even though it didn’t get much attention. It’s a photo from a meat market, where I captured the stark contrast between the animals hanging down and the people standing above. To me, it represented a larger commentary on consumption and sustainability. I imagined the world upside down, where animals are in charge and humans are the ones being consumed. It’s a thought-provoking image that hasn’t gained much traction yet, but it’s one of my favourites.
Now that you’re in Malaysia, how are you adapting your work to this new environment?
I haven’t fully adapted yet. I’ve only picked up my camera a few times since arriving. I’m still adjusting and figuring out my next steps. Malaysia isn’t entirely foreign to me—I studied and worked here before—but returning under different circumstances has been an adjustment. I have some plans in motion, but I’m still in the process of settling in.
What advice would you give to emerging photographers, especially those in conflict areas, who are trying to find their voice?
My advice is simple: just take photos. Some of my best work has been done on my phone, which proves you don’t need the best equipment to create meaningful images. The most important thing is to practice and to connect your mind with the story you want to tell. Look for inspiration, and don’t be afraid to recreate what moves you. Even if you don’t achieve the same result as someone else, you’ll end up with something unique.
Finally, what’s next for you? What are your future aspirations and what stories do you want to tell?
One of the reasons I’m in Malaysia is to pursue a master’s in global marketing, which I’ve always wanted to do. It’s something that will benefit me as a business owner. But truly, and this is just me rolling the dice here, I really hope that after this year I can go back to Sudan. As long as it’s safe for me or my family to stay there, I know there are so many stories to be told in Sudan.
A lot of my students are really successful and are working for companies in the Middle East, Australia and elsewhere. They all had to find different ways after the war, but up until the war they were all under my mentorship in Sudan. I’d really like to get back to that, because I didn’t want to produce photographers who would just leave Sudan, I wanted photographers who would stay in Sudan as well. I’m sure most of them will come back. So, yeah, I think that is my ultimate dream.
Thank you so much for taking the time to answer our questions. Do you have any last comments?
The only thing I want to say, actually, is thanks for this opportunity to present my story. I have had to tell my story a lot of times before, but never from a peaceful state of mind, I was always worried about things in the future. Whilst I’m still worried, I’m glad to say I’m finally at a place of comfort, which is more than I can say for other people. I hope things get better for Sudan and for everyone else in the world as well. Thank you.