Framing the Dead

Episode #445: Born in Yangon in 1984 and raised in the small town of Ye, Shakeel grew up as a Muslim in a deeply divided Myanmar. His childhood was shaped by the tension between his artistic passions and the restrictions of a conservative religious environment. When he began to draw, his relatives told him it was forbidden by faith. School brought little relief—there, Buddhist classmates bullied him with the slur “kalar,” while only a few offered friendship. Books and music became his refuge from isolation.

In 2004, Shakeel began his career as a translator and editor at a sports journal. Despite his talent, he faced persistent discrimination from Buddhist colleagues who asked insulting questions about his faith. Feeling alienated, he resigned after a year. Later, at The Voice newspaper, prejudice again forced him out. “I decided I will never apply for a permanent job at a Burmese organization,” he recalls. Instead, he chose the independence of freelance journalism.

Photography became his calling—a continuation of his early love for images. But soon after he turned to photojournalism full-time, Myanmar’s 2021 coup changed everything. While documenting protests, Shakeel was arrested and tortured; his Muslim identity only made the physical abuse he suffered even harsher. Fleeing arrest, he escaped to Mae Sot, Thailand, where he continues his work documenting the conflict.

Shakeel has witnessed harrowing scenes: airstrikes on civilians in Karenni State, families torn apart, children killed. Haunted by what he saw, he photographs the dead with reverence. “I always apologize to their souls,” he says, “and promise I will use these photos for justice.” Despite lingering prejudice, Shakeel finds hope in the unity of Myanmar’s revolution. “All minorities sacrifice their lives for the country,” he says. “After the revolution, I hope we will live in a place with no discrimination, where everyone has the same opportunity.”