Nora Doukkali, a Political Science and International Relations PhD researcher on the SNSF-funded Future(s) of Humanitarian Design project, has been awarded first place in the Research Photo Competition by the Institute for her "Stolen Time" project. Nora works on her PhD titeled Practicing Time in Humanitarian Waiting-Scapes. The project is is part of her research process. It was supported by the Soli Foundation and was was accomplished thanks to Maria Claudia, Estefania, Sara and Everianyis.

Original and aesthetically strong, the photo series reflects Nora’s research on the politics and poetics of time in humanitarian contexts. "Stolen Time" explores the emotional and political landscape of migration in the Darién region between Colombia and Panama, with the temporal experience of waiting being the central element of the narrative.

When Nora arrived in this border region in January 2025, some migrants were still attempting to cross the jungle heading north. But within just a few months, the situation had shifted dramatically. This area, which had previously seen intense flows of international migration (from Cubans, Haitians, and more recently Venezuelans) experienced a sharp decline in crossings due to increasingly restrictive immigration policies in Central and North America. By April, the dynamic had completely reversed, giving way to return migration. Each day, around 60 to 80 returning migrants arrived in Colombia after a 9-hour journey on small boats, coordinated by Panamanian border authorities — and often following several weeks in detention.

The photo series goes beyond the idea of time lost due to a failed migration attempt

All these deportations and forced return of the migrants reflect not only the idea of time lost due to a failed migration attempt. It is more violent than that: it is about denying, erasing the time of certain populations.

What is even more striking is the contrast between the patience and time required for clandestine migration, and the ease of beach-tourism, as there is a small tourist village just a few kilometers away where tourists come and go with travel agencies between Colombia and Panama in a snap. 

This series is part of Nora’s doctoral research that focuses on the different interplays of practices that shape, sustain, and transform humanitarian waiting landscapes. Inspired by Shahram Khosravi’s work on the temporal violence of deportations. Nora wanted to document the sensorial and political dimensions of waiting:

Intimate stories of waiting and the photographer-researcher responsibility

Importantly, there is not a neat, linear sequence or division with first knowledge development and then creation. It is more organic as they unfold together. 

The mask creation per se took place during a four-day workshop. However, the process of developing this series spanned the entire period Nora spent in the region. In a region that is not controlled by the state but by an armed group, one needs to be cautious, develop bonds and mutual trust. 

Moreover, the process of mask creation shouldn’t be taken lightly. It was based on introspective exercises and crafting moments: “let’s think about a moment of waiting, what were the main colors and objects associated with this waiting?” To prepare, she consulted with a psychologist to learn concrete techniques for facilitating such discussions and enabling breathing spaces. The experiences can be draining, and photographers-researchers have a responsibility to develop tools to accompany that.

The setting evokes deep feeling of abandonment but at the same time symbolizes some urgent issues

The images were captured in empty shelters once packed with people which evokes feelings of deep abandonment.  The Chocó region, where Acandí is located, is really neglected socio-economically. At certain times, notably in 2021, locals witnessed nearly a thousand people passing through each day which created economic benefits for many. Now, the place's appearance raises important questions about the traces left by migration surges. The psychological traces that migration leaves on host populations and migrants themselves are significant. The now-abandoned sites visible on the pictures also highlight the disaster caused by the dissolution of USAID funding, which used to support the presence of some humanitarian organizations. 

Looking Ahead: Photography, aesthetics, and narrative

Nora’s work exemplifies a research practice that blends fieldwork with visual narrative, participatory design, and ethical storytelling. In fact, Nora got her first camera in January 2025 — so these all experiences are new and exciting for her. Just recently she took a one-week photography course with Magnum in Sarajevo, Bosnia Herzegovina with the aim to make more conscious decisions in terms of aesthetics, logistics, and narrative. The course included mentorship from humanitarian photographers like Nanna Heitmann and Susan Meiselas which was a valuable and explorative experience. 

In Sarajevo, Nora created a photo essay “Tales of an observatory” that focused on the ongoing efforts to rehabilitate the Sarajevo Observatory that was built by a group of students with almost no financial support. Once a symbol of scientific exploration, the Observatory was turned into a wartime surveillance post during the siege of 1992-1996. The project reflects on how reclaiming the site today represents both political and aesthetic acts of repair, exploring the emotional meanings in post-conflict settings.