SAJIDA Foundation is a value-driven, non-government organisation. It embodies the principle of corporate philanthropy.

From a garage school start-up with 12 children educated for free with two meals a day, fast forward 30 years and SAJIDA’s annual budget is close to US$13 million with a microfinance portfolio of approximately US$300 million and seven independent portfolio companies.  CEO Zahida Fizza Kabir speaks with LUX Leaders & Philanthropists Editor, Samantha Welsh, about relieving extreme poverty through systemic interventions in climate change resilience, women’s health and livelihood, mental health, and urban poverty.

LUX:  How did SAJIDA come about?

Zahida Kabir: In 1972 my father was MD & Chairman of Pfizer Bangladesh, which in 1991 reincorporated as Renata. Renata is the fourth largest pharma company in Bangladesh. SAJIDA Foundation was the brainchild of my father, who was driven by compassion and a strong sense of duty towards the less fortunate. It started modestly in 1987 as a school for underprivileged children in my parents’ former garage.

In 1993, my father gave 51% of Renata’s shares to SAJIDA as a 25^th wedding anniversary gift to my mother. I have been with SAJIDA since the start, shared my father’s vision, and helped it grow to the organisation you see today

LUX:  How did you evolve your leadership role?

ZK: I have always believed in empowering women, particularly mothers; SAJIDA recognizes the pivotal role women play within the family, community, and broader social context. At SAJIDA, we advocate for the holistic empowerment of women within the context of their multifaceted roles and contributions. Bangladesh is still a country with about 32 million people living below the poverty line. Women in particular face significant barriers to recover in health and education. SAJIDA is committed to mitigating the gaps by focusing on women’s and mothers’ welfare.

The organisation, founded in 1993, aims to empower communities, catalyse entrepreneurship, build equity and establish enterprises for good with an overarching vision of ensuring health, happiness, and dignity for all.

LUX:  What are SAJIDA’s standout impacts?

ZK: Thirty years on, we have representation in 36 districts impacting lives through our Development and Microfinance programmes. Microfinance Programme empowers over 700,000 participants, mostly women, to benefit from our USD 377 million portfolio.

This lifts more than 6 million individuals, or 1.5 million households, annually. At SAJIDA, we see all our work through a gender lens. How is our work benefiting women? Are we investing in the welfare of the mother?

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LUX:  How are women’s rights reflected in SAJIDA’s governance?

ZK: SAJIDA is a family of over 6,000 employees, each contributing to drive meaningful change.We advocate strongly for our female employees at all levels when it comes to implementing safeguarding policies at in their workplace. We also advocate for female leadership at all levels.

Since founding, SAJIDA has been led by a woman. Women encounter disproportionate challenges across various domains, yet their invaluable contributions are often overlooked for short-term gains.  At SAJIDA we understand that empowering women leads to exponential impact.

LUX:  What are the main areas of SAJIDA’s work?

SAJIDA’s operations in Bangladesh have touched over 6 million individuals through its multi-sectoral development programmes which focus on poverty alleviation, community healthcare and climate change.

ZK:  SAJIDA interventions are under two main umbrellas – healthcare (which includes Renata Ltd) and financial inclusion. Our development programmes blend both within our main themes: climate change, women’s health and livelihood, mental health and urban poverty. Our Climate Change Programme targets vulnerable communities, utilizing a Locally Led Adaptation approach.

Uttaran Programme focuses on women’s health and livelihood development striving to improve Reproductive, Maternal, Neonatal, Child, and Adolescent Health outcomes. We recognize the unique multiple challenges faced by the urban extreme poor with our SUDIN programme adopting a holistic approach encompassing economic, health, education, community mobilisation together with our Mental Health Program.  Indeed, we are dedicated to advancing mental health care in Bangladesh and have one of the country’s largest multidisciplinary mental health care teams.

LUX:  How is this work supported at grass roots level?

ZK: We support the health programs in a number of ways. We have a 80-bed hospital equipped with ICU, NICU and dialysis facilities; our Home & Community Care service for the elderly; Inner Circle Private bespoked suite of services for special needs and autistic children; and, most recently, Neuroscience & Psychiatric provides mental health care. My commitment is to prioritize solutions to social challenges over purely profit-driven ventures and we catalyse entrepreneurship to empower communities through our financial inclusion interventions. Our Microfinance Programme fosters economic empowerment. We have also established our Impact Investment Unit to offer investment opportunities to smaller ventures.

LUX:   How do you teach women to value entrepreneurship?

ZK: SAJIDA’s Microfinance Programme prioritises women’s economic empowerment by providing collateral-free loans. Our interventions are also at point of inter-generational wealth transfer, as it is important to guide second-generation women and affluent women to make good decisions and use their resources effectively. To extend our entrepreneurial ecosystem, we collaborate with Orange Corners to launch initiatives to support innovative ideas provided the company has at least one female founder.  We believe using tech is a driver to women’s effective entrepreneurship and innovation. Digitally-literate women entrepreneurs deliver 35% higher ROI compared to their male counterparts.

Read more: Leading MACAN, Indonesia’s first contemporary art museum

LUX:  How is SAJIDA using tech to scale engagement with your programs?

 ZK: Our goal is to be a fully-digitised organization so we have launched several mobile and web Apps to offer a range of functions and services to our beneficiaries, stakeholders and SAJIDA employees. Our Microfin360 FO collection App is a digital credit system that synchs all transaction history in real-time with a web application, allowing Field Officers to view essential daily reports such as due reports, unrealised collection reports, and loan settlements. We are developing a Digital Passbook ‘Agrani: Amar Pashbook’ to give our Microfinance Programme clients access to their financial information, facilitate communication, and offer essential services.

Our Field Force Management Platform (FFMP) is an App which automates outdoor workforces and facilitates easy monitoring of field employees in real-time with its instant notification feature. In 2022, we launched our Monitoring Module to streamline our Monitoring and Evaluation processes through a dashboard for our monitoring officers to access data, analyse, share and report on impacts from their laptops.  We favour a programmatic approach over projects if we are to maximize lasting impact. And for this we need sustainable, long-term funding.

The foundation enables communities to have agency over their own development, be their own drivers for change and instill a vested interest in their own futures.

LUX:  How can microfinance help communities, for example, to become climate resilient?

ZK: Bangladesh is the seventh most extreme disaster risk-prone country in the world.  To build climate resilience we have to open up access to water and sanitation infrastructures. Microfinance can facilitate tailored loans and microloans for constructing rainwater harvesting systems, ensuring communities have access to clean water during the dry season, significantly improving community health and resilience. Customized financial products, including savings, credit, and insurance, which are tailored to the local context can be instrumental in supporting smallholder farmers in disaster-prone regions. Microfinance can facilitate investments in climate-resilient practices and the adoption of environment-friendly technologies by designing loans to support MSMEs to purchase environment-friendly technologies and agro-machineries. Weather-indexed insurance and bundle insurance for both crop and livestock can act as a shield against unprecedented climate events.

LUX:  Where do you collaborate to scale climate resilience?

ZK:  In areas where SAJIDA microfinance branches are not present, we collaborate with other Microfinance Institutions (MFIs) to reach a wider range of climate-vulnerable communities. By providing first-loss guarantees, or credit guarantees, SAJIDA facilitates the provision of zero-interest loans through partner MFIs. This strategy maximizes the impact of our resources, enabling us to extend the benefits of reduced-interest loans to a broader population, acting through intermediaries.   It is important to take a collaborative approach with public and private agencies to enhance the effectiveness of microfinance interventions. Remote consultancy and weather advisory services can increase the community members’ capacity to implement resilient practices. Matched savings products where the community members can collectively save and receive matching funds from the programme and rotational savings products to facilitate savings and investment in resilient agricultural practices, can further empower these communities. The programme can also support the green skills enterprise within these communities, which are necessary for implementing and maintaining climate-resilient practices

LUX:  What is the role for NGOs? 

The foundation covers four thematic areas: catalysing entrepreneurship, fostering equity, community empowerment and enterprises for good.

ZK:  As Bangladesh’s journey progressed, and the country graduated from an LDC to an LMIC, we, at SAJIDA also evolved our approaches accordingly. We transitioned from a service delivery mindset to a system-strengthening approach. This evolution involves enhancing existing public systems rather than operating separately.  NGOs have a crucial role to play in shaping broader climate financing and sustainable development strategies at the macro level. NGOs also serve as incubators for innovation, testing, and refining models that can be scaled up and replicated across diverse contexts.  However, they should engage with the public administration, private entities, and policy-making bodies from the outset so that real-world needs are aligned with broader development goals.

LUX:  What is the approach to public private partnerships?

ZK:  The start-up and social enterprise ecosystem is at a nascent stage in Bangladesh and many parts of Africa. To support ecosystem development, sector-specific incubation and accelerator programs need to be introduced and the deployment of blended patient capital will be critical. As mentioned, this is why SAJIDA is currently implementing the Orange Corners program, to provide heavy-touch mentorship to budding entrepreneurs to develop effective business models.  SAJIDA also implements smart solutions in the areas of WASH, agriculture, and health to empower and uplift communities. I believe an empowered community will be attractive to the private sector and thus paves a pathway for mobilising additional capital.

LUX:  Philanthropists talk about taking ‘baby steps’, how would you guide a philanthropist starting on their journey?

My father was a caring, compassionate and empathetic man.  From a young age he was deeply troubled by the inequalities in the world around him.  He wanted to solve a very complex problem, that of poverty.  I believe that behind every desire to make a change is a passion to challenge and to stand up for the most neglected in society. We all have to believe that it is our responsibility to make a contribution to the betterment of our society. The size of the contribution does not matter – no amount is too small.  Ask yourself this, what will be my legacy?  What kind of a world do I want to see for the next generation? I urge everyone to take that leap. Take that small step to see what you can do.

www.sajida.org

LUX’s Chief Contributing Editor, Maryam Eisler, talks to friends and internationally acclaimed artists, Italian Michelangelo Pistoletto and Cameroonian Pascale Marthine Tayou about artistic dialogue, cultural roots and creative chaos

Maryam Eisler: I’m fascinated by this idea of creative duality, a dialogue which wouldn’t naturally come together. You have always said ‘one and one makes three… it is the fusion of differences’. How do you explain this? Why does it work?  

Michelangelo Pistoletto: It’s a perfect duality made of two antique yet contemporary cultures. All the elements that we have in the exhibition are made with these two cultures: one European, the other African. Although there is a long history separating these continents, there is a shared perpetual connection and aggression, a cultural, ecological and technological aggression. We live in a moment where we need to fuse these opposites, to produce a third phenomenology that I call ‘the third paradise’. 

Turin-born painter, Michelangelo Pistoletto, acknowledged as one of. the pioneers of the ‘Arte Povera’ movement in Italy, has a focus on reflections and mirrors across his work

ME: Pascale, I believe you’ve found inspiration in the words of Edouard Glissant; what are your thoughts on him saying that ‘the mixture of art and language produces the unexpected, this other space, this third paradise, a space where dispersion allows for connections, where culture clashes, where disharmonies, disorders, and interference become creative forces’.  

Maryam Eisler, photographer and LUX’s Chief Contributing Editor, photographs Pascale Marthine Tayou, Belgian-based artist with a focus on setting man and nature ambivalently together, to underscore the fact that artworks are social, cultural, or political constructions

Pascale Marthine Tayou: I think it’s about how you bring those elements together and finding what’s in between the lines. In terms of culture becoming a creative force, I believe a key part of my evolution was these elements influencing me while growing up. I didn’t know which path to take because there was so much confusion around my upbringing, so I had to find my own way to escape and survive. I never thought I was ‘making art’, but I’ve learnt a lot about my practice through connections and people’s opinions; I’m discovering myself through others’ eyes. For this body of work, I asked myself about the magic of form. I thought I’d find what makes these objects so special, maybe because they are so dark and it’s impossible to get through them. I thought of what I could do with transparent material, to try and catch the truth, but I went even deeper. More transparency means it’s harder to catch this truth; that is the meaning of life. There’s no answer, you must only express yourself.   

ME: You’re talking effectively about spirituality, a bit of philosophical death tying in beautifully with reflection, refraction and use of glass and mirror. Walk me through this use of light.  

MP: You see in this room we have black and white.  

The collaboration between Pistoletto’s multi-disciplinary, multi-voiced practice, and Tayou’s works, seeking to redefine postcolonial issues via the European experience, has been the rich source of creative dialogue.

ME: Yes, yin and yang! 

MP: They present the two opposites. Without them, we have nothing in between. There cannot be solely light or darkness, but together, they make a new world.  

PMT: They are like two borders. There’s always something between and that’s the mystery of creativity, trying to catch that. 

MP: But between, we have all the colours!  

PMT: Of course! The harmony comes from balancing both shadow and light. You are only visible because of both; that third paradise is in between.  

MP: The two extreme elements produce an explosion at the centre! Something chaotic, working towards harmony. The objective of the arts is to recombine with harmony. Art has always been in search of peace, and we are still trying to recombine these concepts.  

ME: Chaos and harmony, interesting words today. What is this chaos you talk about?  

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MP: To clarify, the chaos isn’t necessarily negative. Chaos is the only order possible, but we need to understand how it can be used to allow us to live in an advanced, spiritual way.   

ME: An interesting discussion in a world where everything isn’t in ‘orderly chaos’ necessarily.  

MP: Chaos is fantastic because everything is included within it; the universe is working by contrast. Despite this, it’s up to us to create harmony and dynamic balance.  

Both Pistoletto and Tayou express interest in materials and their significance within art, and both artists find that every point in the universe is a centre-point; there is not just one.

ME: Is this the power of art? Can life and politics replicate art?  

PMT: Art is a state of mind, like a group of people making soup. If two people had the same spices, water and tomato, they would make two completely different pots of soup. As we grow up and progress as human beings, we become more political. We go deeper into the traffic of evolution and learn about a life of confrontation, refraction and fragmentation, which we learn to deal with. Through art, we can share this.  

ME: Now we understand your chaotic journey, your chaos is a different kind, isn’t it Mr Pistoletto? 

MP: Not necessarily. We just have different approaches. Mine is more rational and his is more emotional. But from his emotions he grows a diverse dimension, amalgamating emotion and reason. Personally, I start with rationality. I try to research and give reason to the basic phenomenon of existence. That’s why the mirror painting shows reality without personal interpretation. Just as it is.  

Read More: Maryam Eisler: Confined Artists

ME: I find it very interesting that you’ve referred to these mirror paintings as a symbol of society, with each fragment representing an individual.  

MP: I included society, nature, day, night, time and space. While doing these paintings, I saw the universe concentrate on the infinity of the mirror. This is a phenomenon; its not something I decided. I had no feelings about it, nor did I want to have any. Finally, when I saw the real truth, I experienced the biggest emotion one can experience : that related to reason. I had the answer to my question.  

ME: At the end of the day, it’s about a collective memory, is it not? 

MP: In my work, there is Pistoletto, not as one, but as everybody. They are the author of my work, not just me. I simply raised the formula that includes everybody and everything. The mind has the power to bring images to reality; the mirror is the image of existence. While the image doesn’t know it exists, I know I exist. This is what is important: art has the capacity to interpret existence. 

Tayou’s work explores movement, changes, economics and the environment; the artist uses repurposed materials for a lot of his practice. 

ME: From this dialogue, what have you learnt from each other? This is the third exhibition you’ve done together? 

MP: I think there’s love between us, not in a romantic sense.  

ME: What about respect? 

MP: Love is a precursor for respect. Respect is not sufficient; one gets to it with sentiment.  

PMT: Personally, I think respect is something innate and platonic. For example, my father’s love for me is just that of a father’s love for his son, not because we are on the same level.  

Pistoletto’s iconic mirror images are photo-silkscreened images on steel. These works were developed in 1962, and represent Pistoletto’s interests in conceptualism and figuration. The reflective nature of the pieces force the viewer to become an integral part of the piece, as well as the gallery itself.

MP: I say ‘love differences’, which I mean literally; the Mediterranean is surrounded by cultures. Loving differences isn’t just accepting or respecting, but ‘loving’ goes further. Between two people, in order to create, you have to love. Nothing else.  

ME: This is possibly the most positive message we can project out there in the universe, precisely with this very recipe.  

Pistoletto and Tayou underscore the importance of friendship in spurring concepts, art and art theory in fruitful dialogues.

MP: Today, we share the human spirit; we have common ancestors from Africa, where the concept of humanity was developed. This spread North and South, to America and everywhere else. We are the first and last threads of history. We’re talking about the art of this very wave which unites all these ideas.  

PMT: Honestly, it’s not easy for me, coming from a continent polluted by the conquering European race. We might say that I am sold, as reality is rather conditioned by the material.  

MP: This reality means that we are conditioned to ask questions where there are problems. We’re not going to look for wealth elsewhere; we must redefine all of this. If I’m involved in this, art does not exist. It doesn’t interest me. What interests me are people.  

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This interview was conducted at Patricia Low Contemporary, Gstaad, in February 2024, during the exhibition ‘Alternative Centers‘, a dialogue show between Michelangelo Pistoletto and Pascale Marthine Tayou, which ran fro, December 26 to February 11 2024.

pistoletto.it

galleriacontinua.com

patricialow.com

maryameisler.com