There is no government I know that does not champion democracy and human rights in its rhetoric but also actively suppress both in its practice. It’s best to recognise that reality and work within it rather than fantasise on some ideal solution that has no relevance to everyday art practice. So we use the tactics of judo wrestlers, using the opponent’s weight and turning it to our advantage. We use fulcrums and gravity and capitalise on the inherent inertia of the establishment. We are nimble and fleeting. As Ali might have done, we flit like the butterfly and sting like the bee.
One day the apolitical intellectuals of my country will be interrogated by the simplest of our people.
They will be asked what they did when their nation died out slowly, like a sweet fire small and alone.
No one will ask them about their dress, their long siestas after lunch, no one will want to know about their sterile combats with “the idea of the nothing” no one will care about their higher financial learning.
They won’t be questioned on Greek mythology, or regarding their self-disgust when someone within them begins to die the coward’s death.
They’ll be asked nothing about their absurd justifications, born in the shadow of the total lie.
On that day the simple men will come.
Those who had no place in the books and poems of the apolitical intellectuals, but daily delivered their bread and milk, their tortillas and eggs, those who drove their cars, who cared for their dogs and gardens and worked for them, and they’ll ask:
“What did you do when the poor suffered, when tenderness and life burned out of them?”
Apolitical intellectuals of my sweet country, you will not be able to answer.
A vulture of silence will eat your gut.
Your own misery will pick at your soul.
And you will be mute in your shame.
–Otto Rene Castillo
Chobi Mela X
International Festival of Photography, 2019
No heaven, no hell, no ever after, do I care for when I’m gone
Peace here I seek, in this sand and soil, this place where I was born
As oceans deep, as deserts wide, as forests and fences loom
As children die, as lovers sigh, no cross, no epitaph, no tomb
As bullets whiz by, as shrapnel shard, as hate pours from above
As blue skies curse, the wounded I nurse, as spite replaces love
It is home I long, as I boundaries cross, a shelter that I seek
A world for us all, white brown short tall, the boisterous and the meek
If my bosom is raised, or my beard is long, or I sleep with the ‘wrong’ kind
If my politics isn’t yours, nor my country of birth, a terrorist you will find
You return my boat to the cruel sea, back to the wars you wrought
Walls you will raise, to keep me at bay, my children in danger fraught
I love the land I was born in, the tree that gave me shade
My broken home, my shattered dreams, slain lover that goodbye bade
My slanted eyes, my dread lock hair, my tongue though strange may be
I bleed red blood, as flows in your vein, Is there a place in your heart for me? -Shahidul Alam
Press release German Foreign Office and Neue Galerie Berlin will present Shahidul Alam at Deutsche Welle?s Global Media Forum and at the Global Forum on Migration and Development in Berlin.
With the book publication and the exhibition ?The best years of my life. Bangladeshi Migrants in Malaysia? the international well-known photographer and activist Shahidul Alam will be present on Monday, June 19, 2017 through the Neue Galerie Berlin and with the support of the German Foreign Office on the Global Media Forum of the Deutsche Welle. After the end of the forum in Bonn, the exhibition will be on display at the German Foreign Office in Berlin from Thursday, June 23, 2017, and will be part of the Global Forum on Migration and Development from 28 to 30 June. The Finissage will be published on 30 June 2017 at the Federal Foreign Office with a greeting from the State Secretary Dr. Markus Ederer within the framework of the GFMD. The artist will be present in Bonn and Berlin and will be available for questions and interviews. Further information on the exhibition and the artist in the appendix.
As an additional digital component, the Neue Galerie Berlin, together with the technology partner snap2live, presents the newly developed image recognition app ?Neue Galerie Berlin?. All pictures of the Alam exhibition can be scanned with the app (tentatively available on Android). Behind the pictures
In 2016 Tanja von Unger founded the Neue Galerie Berlin (www.neuegalerieberlin.de).
To provide a relevant platform beyond photography the businessmodel
also collaborates with publishing groups and institutions and is known for its groundbreaking presentation of photographers and their works at economic conferences and events such as the Economic Summit of the Su?ddeutsche Zeitung, Falling Walls Conference, Rheingauer Economic Forum, Global Solutions G 20 Conference of the Dieter von Holtzbrinck publishers.
Snap2Life create apps for companies in the media, publishing, automotive, business, sports and advertising sectors. Most of these apps are equipped with our innovative image recognition functionality, which we also provide as an API for integration into other apps. In a fraction of seconds we connect the offline world with any kind of relevant content from the online world.
The Deutsche Welle Global Media Forum (GMF) is the Place Made for Minds, where decision makers and influencers from all over the world come together. It?s the global platform put on by Deutsche Welle and its partners and the place where you can connect and strengthen relations with over 2,000 inspiring representatives from the fields of journalism, digital media, politics, culture, business, development, academia and civil society. The conference provides a unique opportunity to network, get inspired and collaborate using a wide variety of state-of-the-art formats.
http://www.dw.com/en/global-media-forum/global-media-forum/s-101219 ?Towards a Global Social Contract on Migration and Development?
Tenth Global Forum on Migration and Development Summit 28 to 30 June 2017, Berlin
Germany and Morocco have assumed the co-chairmanship of the Global Forum on Migration and Development (GFMD) from 1 January 2017 until 31 December 2018. During this two-year period, the focus will be on the contribution of the GFMD to the United Nations? Global Compact on Migration. The Compact is intended to constitute a strong signal of the international community for an enhanced global migration policy, to be adopted by the community of states in 2018.
For celebrated Bangladeshi photographer, writer and curator Shahidul Alam, a just world is a plural space where many thoughts can coexist. His latest show, Embracing the Other, opens in Dhaka on May 8
“If you?re not making certain people uncomfortable by your presence, you are probably doing something wrong.? Bangladesh?s best-known photographer, writer and curator Shahidul Alam, 61, has lived by that adage, which, by and large, sums up why he does what he does.
For Alam, who has been actively involved in the movement for democracy in Bangladesh for over three decades, photojournalism was a corollary of being an activist on the streets, seeking to see himself on the edge, so as to constantly ?feel the heat?, questioning, going beyond the obvious, not settling for safe options.
In Bangladesh, Alam is credited with many ?firsts?: Among other things, he set up Drik Picture Library, the country?s first picture agency, in 1989; Pathshala, its first photo school in 1998; and the first email network in the country in 1994. He also founded the first photo festival in Asia, Chobi Mela, in 2000. Continue reading “Embracing the Other”
I’d pretty much perfected the art. I’d go down to the newest library I could find. Become a member as quickly as I could, and armed with my new membership card head straight to section 770, the magical number for photography at UK public libraries. I would take out the full complement of 8 books that I was allowed at any one time. When the lending period was over, they would be replaced by another eight.
I devoured the books, which were mostly monographs, or ones on technique, composition or even special effects. I knew too little about photography, to know how limited my knowledge was. It was many years later, when my partner Rahnuma, gave me a copy of “The Seventh Man” by John Berger, that a new way of looking at photographs opened up. Unknowingly, it was the book “Ways of Seeing” that later opened another window. One that helped me see the world of storytelling. That was when I realised that image making was only a part of the process. Once youtube arrived on the scene, and the television series with the same name entered our consciousness in such a powerful way, his TV series “Ways of Seeing” became my new staple diet. Here was a leftie who could still speak in a language the average person could understand, and that too on a topic such as art. His fascination was neither about the artist nor the artwork itself, but how we responded to it and how it gained new meaning through our interaction. While it was art he was dissecting, it was popular culture he was framing it within.
That there was so much to read in a photograph, beyond the technicalities of shutter speed, aperture and resolution, is something my years of reading section 770 had never revealed. The photographs of Jean Mohr (The Seventh Man), were unlikely to win awards in contests, or fetch high prices in auctions, but Berger’s insights into the situations and the relationships that the photographs embodied, gave them a value way beyond the mechanics of image formation. Berger never undermined the technical or aesthetic merits of a photograph. He simply found far more interesting things to unearth.
Awake, deep in the silence of the night
I dread the sound, I?ll hear your bleat tonight
Your tiny toes tied together with twine
Your tiny body weighed down by people fine
Children circling, some in fright, others in glee
Butcher man with knife, crouching on his knee
You?ll struggle in vain, your bleat a garbled cry
Blood will spurt, red floor, no questions why
Is someone there, another goat, a baby even?
Who wants you, regardless of who goes to heaven
What God needs blood, as evidence of love?
What sacrifice in swapping, money for life above?
A shopping spree, celebrations on TV
What?s one goat less or more for you and me?
It is quiet again, a respite from the heat
The sound remains, I?ll forever hear your bleat
12th September 2016
A report on Pathshala South Asian Media Institute, published by the online news portal bdnews24.com, has come to our attention (?Shahidul Alam?s Pathshala operates without affiliation,? bdnews24.com, 6 August 2016). Unsubstantiated allegations, backbiting and innuendo and the absence of cross checking characterise the ?report.? It is a shoddy piece of journalism. Continue reading “PATHSHALA?S RESPONSE TO BDNEWS24.COM?S REPORT”
At a time when our entire education system is in crisis, the quality of education is in question and the values that student?s inculcate is a source of fear.?A student of?Pathshala South Asian Media Institute,?in response to questions about the validity of the very certificate he has obtained, talks passionately about the institution?s pedagogic model and how he has been transformed by it.
A letter to whom it may concern
BEFORE joining Pathshala, I had studied in nine schools and one university (all certified) in this country. But never before had I found an environment similar to the one at Pathshala. South Asian Media Institute, founded by Shahidul Alam. Forget about competing, none of them are even light years close.
From a very early age I had sincere doubts and disagreements with the ?socially accepted? and ?certified? educational systems. For, all I had seen was a bunch of sheep-like people following a curriculum given by a governing body or authority without assessing, questioning or having an opinion on the teaching method or the materials. It seemed that people blindly followed the dictum ?this is how things are?, an attitude which I could never accept. Everywhere, I saw teachers give students instructions or orders to follow a rigid structure, to memorise, to cover the syllabus. Even those studying in a creative field had teachers who would promote and indoctrinate a particular pattern of thinking or school of thought. This basically means that you are thinking other people?s thoughts and are being conditioned in someone else?s mental shadow. Continue reading “On the ?uncertified? Pathshala”
We chose not to be photographed. His broad smile was somewhat subdued, though the impishness of his chuckle still remained. The big hug didn?t work out. Even in the generous light through the large open window, a frail Kiarostami with tubes wasn?t how we wanted him depicted. He had cancer, and the surgery had gone wrong. My young friend Mansour Kiaei had accompanied me and had only met the great man for the first time. He wanted to photograph the two of us. We declined, saving the moment, for when Abbas would be better, and more the Abbas, as I had known him.