The Tide Will Turn

Shahidul Alam: The Tide Will Turn

Edited by Vijay Prashad

Texts by Shahidul Alam and Arundhati Roy

To my fellow prisoners in Keraniganj Jail, and the youth of Bangladesh who continue to resist, and to Abrar Farhad who was murdered by fellow students for his defiance.
Book design by Shahidul Alam and Holger Feroudj / Steidl Design
184 pages
7.3 x 9.3 in. / 18.5 x 23.5 cm
37 black-and-white and 74 colour photographs Four-colour process
Clothbound hardcover
€ 28.00 / £ 25.00 / US$ 30.00
ISBN 978-3-95829-693-0
A Bangladeshi policeman gags photographer Shahidul Alam to prevent him from speaking to the press during a court appearance 6 August 2018. Photo courtesy Suvra Kanti Das

“On the night of 5 August, I did not know if I was going to live or die,” writes Shahidul Alam, one of Bangladesh’s most respected photo- journalists, essayists and social activists, remembering his arrest, torture and eventual 101-day incarceration in Keraniganj Jail in 2018. Just a few hours before, he had given a television interview criticising the government’s brutal handling of the student protests of that year which had called for improved road safety and an end to wider social injustice—in his words, “the years of misrule, the corruption, the wanton killing, the wealth amassed by the ruling coterie.” Combining Alam’s photos and texts with those of a range of collaborators, including artwork by Sofia Karim and fellow inmates, The Tide Will Turn documents his experiences, the global support for his release, and the ongoing fight for secularism and democracy in Bangladesh and beyond.

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Described by its editor Vijay Prashad as about “the beauty and tragedy of our world, about how to photograph that dialectic,
and about how to write about it,” Continue reading “The Tide Will Turn”

November Update

November looks to be a busy month. I am at Steidl in Gottingen right now. The impressively professional team at Steidl is working flat out to make my book available in time for the Rubin opening. There are a string of events coming up in New York, San Francisco and London. Hope to see some of you there.

Shahidul Alam by Sarker Protick for Financial Times

Keynote: Freedom of Expression 7 Line Studio — LIC 3 November 2019 2:00 pm
Speaking Truth to Power at Columbia followed by Q&A with Nina Berman 4 November 6:30 pm
Conversations on Conflict Photography New School 5 November 7 pm
Shahidul Alam in conversation with Hari Kunzru 7 November 6:30 pm
Shahidul Alam Truth to Power Rubin Museum 8 November 2019 – 4 May 2020
The Chowdhury Center Distinguished Lecture for 2019 UC Berkeley 9 November 5:30 pm
Special Exhibition Tour Shahidul Alam: Truth to Power 20 November 6:00 pm Rubin Museum (won’t physically be in New York for this one).

Features

Feature by Rachel Spence on Financial Times
Feature in Guardian by Jehan Jillani
The Guardian Picture Essay: Prix Pictet Shortlist

Shortcut to heaven

Beautiful being, big brown eyes
Butchers breath, brings your demise
Sharpened knife, ready with rope
Shortcut to heaven, forlorn hope

Cow ready for slaughter. Dhanmondi 9A

What sacrifice, fat wallets bring
Outbid your neighbour, take virtual swing
Beef biriyani, kebab with ghee
Prayers once over, consume with glee

To give away, what one treasures most
For greater good, not pride nor boast
Values forgotten, rites evermore
Seasonal bribes, baksheesh galore

I’ll hear you call, day-night long
For you this poem, this dirge this song
As you gasp for breath, as your eyes roll
My sign of piety, your death will toll

My sleeping bird

It was on the 5th August 2018 that I was picked up from my flat. It led to torture, remand, over 100 days in jail and eventually bail on the 6th attempt.

What do I remember of my incarceration? One of my endearing memories is during a power cut (which happens regularly in this high security (KPI) location), when I would hear one of the prisoners sing a song both Rahnuma and I are very fond of. A Baul song composed by Ukil Munshi on the death of his beloved. The song “Shona Chand Pakhi” was made famous by the bard Bari Siddique. Songs are always difficult to translate, but here is a crude attempt:

My tender moon my tender bird
Do you slumber as I call,
You and I, entwined we were
Forevermore and all

Why must you, so quiet stay
Open your eyes, my gentle one
So quiet you are as I call today
Its my call, don’t slumber on

Bulbul, Parakeet, Mynah
So many names to you I call
You broke the chains and left me 
Where do I stay where do I fall?

This love of ours, as I call and you sleep
Sun and moon witness in the sky
Suddenly you leave me all alone
I am left with the question why?

2019 ICP Infinity Award: Shahidul Alam

Shahidul Alam is a Bangladeshi photojournalist, teacher, and social activist. A TIME “Person of the Year”, he is celebrated for his commitment to using his craft to preserve democracy in his country at all costs. See the project at http://mediastorm.com/clients/2019-icp-infinity-awards-shahidul-alam

A long way to run

It was 18th May 1976. My sister Najma (Apamoni to me) had just given birth to her second child. It was coming up to my final exams at Liverpool University. The hospital in Fazakerley was about ten miles away. I’d used all my holidays and every weekend, working as a labourer at the building sites of Lockwoods Constructions in Preston, St. Helens and Bootle, to save money for my overseas student fees, and for my keep. There had been little extra time to study during term and there was a lot of catching up to do. The bus ride would have taken too long and been much too expensive. I used to live in cheap digs at the Catholic Chaplaincy of the Liverpool University and pedaled out from Brownlow Hill with my Radio Shack bike radio churning out ‘Living Next Door to Alice’ by Smokie on full blast. Apamoni’s firstborn, Mowli, had been born on the 24th March 1971, the eve of the genocide in Bangladesh. The exams and money woes that accompanied Sofi’s birth were insignificant in comparison.

My nieces were my first models. This was probably taken around 1981, when Sofi would have been five.

Continue reading “A long way to run”

We will not be silenced

By Mike van Graan

Let us remind you”

They say

These new tyrants

Grown deaf with their own propaganda

Drunk on the spoils of incumbency

And their patrons’ gifts

Blinded by the arrogance

Of too-long

Too-much power

It is us who brought you freedom

If it were not for us

You would not have the right to write

What you like

To say as you please

To insult us with your poems

Your naked paint

Your twisted tunes and

Crass cartoons

Show some respect”

They say

These bloated 1994 pigs

Ten years late to the Orwellian trough

Fast having made up for time lost

Caricatures of that which once they said they loathed

Would have us silent

In the face of betrayal

Would have us genuflect

To them as lords

When first they promised they would serve

Hear this

You thieves of dreams

You robbers of hope

Who seek to balaclava your looting

With radical rhetoric

That springs hollow from

Your empty hearts

Your false smiles

Your crooked tongues

Ours are freedoms we carry in our hearts

They were not yours to give

They are not yours to take

The freedoms written in our hearts

Will find expression

On the streets

In our workplace

On our stages

In the voting booths

So make your hay

While your sun goes down

For soon our onward march

Will footnote you to history

Silence is not an option

Shahidul Alam is a Bangladeshi photojournalist, teacher, and social activist. A TIME “Person of the Year”, he is celebrated for his commitment to using his craft to preserve democracy in his country at all costs. See the project at http://mediastorm.com/clients/2019-icp-infinity-awards-shahidul-alam

The award ceremony in New York by Jose-Carlos Mariategui

There’s Power in Photography: The Undying Resilience of Dhaka’s Chobi Mela Festival

Interview with Shahidul Alam by Daniel Boetker-Smith
Photojournalist and activist Shahidul Alam speaks out about the effects of his detainment on Dhaka’s Chobi Mela Festival, and how the event still plans to persevere for years to come.
SHAHIDUL ALAM Photo: Tom Hatlestad
The year 2018 is one that Shahidul Alam, and the wider international photographic community, will not forget so easily. In August last year, just hours after an interview on Al Jazeera where he openly criticized the Bangladesh government’s violent response to student protests, Alam was forcibly taken from his home by the Dhaka Metropolitan Police and arrested.
While remanded, Alam was interrogated and beaten. Following a significant outpouring of support and pressure from Amnesty International, the Committee to Protect Journalists, Reporters Without Borders and other Bangladeshi and international organizations and notable figures, Alam was released after spending 107 days in prison.
As a widely respected activist, photojournalist and academic, Alam is most prominently known as founder of the Drik Picture Library, the Pathshala South Asian Media Institute and the biannual Chobi Mela Photography Festival in Dhaka, Bangladesh, which returns on February 28th of this year for its tenth edition.

In one of his first major interviews since the events of late last year, Alam talks to Daniel Boetker-Smith about the upcoming festival, the political power of photography, and the state of the medium in Bangladesh, South Asia and beyond.


Tunisia, from the series “Exodus from Libya”. Bangladeshi migrant labourers who have fled the unrest in Libya walking along a road from the border post at Ras Ajdir towards a refugee camp set up by UNHCR near the town of Ben Gardane in Tunisia. Tens of thousands of people have fled the unrest in Libya, which started on 17 February 2011 as a popular uprising against the 41-year rule of Libyan leader Muammar Gaddafi. © Chris de Bode

DBS: Given recent events that we have all followed closely, how has planning for this Festival been different to previous years?

SA: The last few months have meant that this year’s festival is coming back to its roots. Chobi Mela began as a very small event, and over the past 20 years it grew significantly in stature. But this year, we are activating a diverse range of less formal exhibition venues around Dhaka. This shift is one of necessity, because Chobi Mela is not an organization that everyone in Bangladesh wants to work with at the moment—we are seen as dangerous. A lot of previous supporters and sponsors of the festival are businesses in Dhaka, and right now they are being tested. They know that their decisions are being monitored and that there is high level of government surveillance surrounding the event. Because of this, we have had to be more inventive, finding new ways to show work, utilizing different types of exhibition and event spaces for photographers and audiences. Some public venues and government-owned buildings are no longer available to us, and we are choosing to see this as an opportunity to move away from the traditional ‘white cube’ mode of presentation, to a much more raw and community-oriented festival. Continue reading “There’s Power in Photography: The Undying Resilience of Dhaka’s Chobi Mela Festival”