The session, organised on June 26, 2012 at the BRAC Centre Inn, Dhaka by Odhikar in collaboration with European Union includes statements by victims and legal expert?s analysis. Speakers include
? Abdul Matin Khasru, MP and Former Law Minister
? Haider Akbar Khan Rono, Presidium Member, Communist Party of Bangladesh
? Abu Sayed Khan, Managing Editor, The daily Shomokal
? Advocate Abdus Salam, Member, Central Coordination Committee, Gonosonghati Andolon
? Rajekuzzaman Ratan, Member, Central Committee, Socialist Party of Bangladesh
? Mizanur Rahman Khan, Associate Editor, Prothom Alo
? Kalpona Akhter, Executive Editor, Bangladesh Centre for Workers Solidarity
There is a paper presented by Adilur Rahman Khan, Secretary, Odhikar which Nurul Kabir, Editor, New Age presides over. Welcoming address given by Dr. C R Abrar, President, Odhikar
A set of posters of the exhibition on extra judicial killings “Crossfire” by Bangladeshi photojournalist Shahidul Alam of Drik is on display. Sets of the posters have been given to human rights activists to use at grassroots level. The show was recently shown at the Queen’s Museum of Art in New York.
by?BEENA SARWAR?on?MAY 4, 2012 Latitude News
In ?Crossfire,? an exhibition of photographs at the Queens Museum of Art in New York that closes on Sunday the 6th, acclaimed Bangladeshi photographer and activist Shahidul Alam chronicles the extra-judicial killings allegedly committed by Bangladesh?s Rapid Action Battalion, or RAB.Over a thousand victims have been ?cross-fired,? or executed by police without trial, in the last four years in the South Asian country, human rights activists claim. Many more people, perhaps thousands in total, have suffered similar fates, they say.
Bangladeshi journalist?Abu Sufian?s blog?about extrajudicial executions and other kinds of injustice is the jury choice in the ?Reporters Without Borders? category of this year?s BOBs (Best of Blogs competition), organized by the German radio station Deutsche Welle. It was was chosen from 11 finalists by an international jury consisting of bloggers and a Reporters Without Borders representative. Continue reading “Bangladeshi blogger Abu Sufian wins ?Reporters Without Borders? Category Award in Best of Blogs contest”
Opening Reception & Forum:?Sunday, April 15, 6:00 pm ? 9:30 pm, 2012
Queens Museum of Art, NYC Building, Flushing Meadows Corona Park, Queens, NY 11368? DIRECTIONS
Forum & Opening Reception for Partnership Gallery Exhibition in Collaboration with Drik Picture Library, Dhaka.
Bangladeshi photographer and human rights activist Shahidul Alam?s Crossfire exhibition will open in the Partnership Gallery at the Queens Museum of Art on 15th April, 2012 and run until May 6th, 2012. The exhibition aims to gather international support for a campaign to end extra-judicial killings in Bangladesh by state forces, usually called ?crossfire.? Continue reading “Crossfire ? Photographs by Shahidul Alam”
An extraordinary artist ? eloquent with words and images ? Shahidul Alam is a photographer, writer, activist and social entrepreneur, who was profoundly influenced by inequality in Bangladesh, his country and the liberation war. He left a career in science in the west to pursue a life in photography challenging oppression and imperialism in all its forms. Attacked, arrested, and threatened with death, Alam has built what many consider to be the finest photography school in the world, an award winning agency, and the world?s most demographically diverse photo festival. Widely celebrated, Alam claims as his achievements not the awards he has won or the impressive list of exhibits, but the people he has trained and the lives he has transformed. Continue reading “Art as a Witness”
8th January 2012. Taipei
One of the videos presented. A compilation from several videos on major protests in 2011
Long before CSR had become a buzzword and superstars and corporates began to find it essential to have pet social causes to support, we had set up Drik, a small organisation in Bangladesh, which made social justice its raison d’?tre.
Over two decades later, when my show on extra judicial killings at the gallery of Drik, was interpreted by a group of international curators as a ?fantastic performance?. It was time for me to take stock, and see where the art world situated itself and whether I belonged to this marketplace.
As collective movements go, the sub-continent has had its share. Colonial rule, oppression by the landed gentry, women?s struggle for equality in a patriarchal society and the injustice of caste have all been challenged. The solidarity of sustained groups, often against overwhelmingly stronger entities with far greater resources. had been a trademark for undivided India and for Bengal in particular.
It was the dynamics of a ruling class propped up by local agents who stood to profit from inequality, that led to the Gandhian strategy of non-violent resistance. Other methods had also been tried, and Subhas Chandra Bose, with a much more militant outlook, also had a huge following. The Tebhaga peasant movement by the Kisan Sabha had led to laws being formulated that limited the share of the landlords.
Partition did not cure these ills. The ouster of the British did not break up the class structure, but replaced one set of exploiters with another. The British, and other imperial powers continued to maintain unequal trade relations, sometimes in the guise of aid.
Cultural activists in Bangladesh had operated within this milieu. With the military under the control of the West wing, the more populous East Pakistan felt the weight of oppression. Military rule became the vehicle for continued repression but failed to quell the unrest and even the final genocidal attack on the people of East Pakistan, was repulsed by a countrywide resistance.
An independent Bangladesh, free of foreign occupiers, should have been a land free of repression. The reality was very different and cultural activists have had to find new ways of resistance. This has required documentation, articulation and tools of creative expression to deal with injustice in many forms. Having been failed by the major political parties (both government and opposition), cultural actors formed their own groups. Operating with minimum resources, we devised numerous initiatives to mobilise public opinion. Using both new and traditional media, as well as the networking ability of social media we formed lean and tenacious campaigns that chipped away at the establishment and its cohorts insisting on being heard and bent on achieving justice.
But the corporatization of modern Bangladesh has brought about many changes. I remember as a child that we used to respond to natural disasters by grouping together, singing songs, raising money, collecting food and old clothes and going out to affected areas to distribute them. We now leave such activities to the NGOs. Social movements are now sponsored by multinationals and protesters in rallies have sunshades parading the brand logos of telecom companies.
We had simultaneously taken on the hegemony of the west and its new southern accomplices, as well as the repressive regimes that operated within the nation state. But today we also need to examine how social movements have been appropriated, and our inability to operate without ?funding? regardless of the cause seriously limits our capacity for social and political intervention.
As an artist, as an activist, and as an organizer, I have along with my colleagues taken on technology, art, education and culture in its diverse forms and have presented a cohesive front that has challenged the military, major political parties and corporates, while continuing to operate independently within public and private spheres.
The presentation attempts to show how, by resisting not only the formal entities that have usurped power, but also the cultural norms that attempt to pigeon-hole cultural practice in terms of ?fine art?, I as an individual artist, as well as worker in a commune, have tried to ensure that our ?art? does not limit itself to admiration in a gallery. It breathes the gunpowder laden air of street battles with police, the dank vapours of the factory floor and pervades the silence of patriarchal inner chambers.
8th January 2012
Shahidul Alam?s ?My Journey as a Witness?: book excerpt and giveaway
Head on down past the fascinating opening essay from the book excerpted below, put together by curator and writer Rosa Maria Falvo, to find out how to win!
Impossible is nothing
Few Westerners have any understanding of Bangladesh?s complicated history or even know exactly where it is on a map. And fewer still have experienced what this country has to offer. I first went there in 2008, travelling to Dhaka from Kolkata by bus across the Indian-Bangladeshi border at Benapole, and after our first ?luxury? bus ripped a hole in its undercarriage as the driver forced the ferry ramp prematurely, we jumped onto another making its way into the belly of a night ferry, crossing the Padma (?lotus?) River, the main channel of the great Ganges (Ganga) River originating in the Himalayas. Immediately surrounded by a smiling and curious crowd, it felt exhilarating to be suddenly thrust into the enduring dynamism that is daily life in Bangladesh. Washing over my vague but cemented notions of disaster and poverty, the reality for me was inspiring, within the chaos and calm combined. I have since travelled southwards to Chittagong?s great seaport, and then north into Bogra, through Dinajpur, visiting temples and monasteries, onto Rangpur, stopping for tea with indigo farmers, heading west to Thakurgaon, giving way to elephants on the village roads, and across India on our way to Biratnagar, Nepal. Increasingly, I am struck by the pervading ?impossible is nothing? approach to life here, and by the magnanimity of the people of Bangladesh.
We met a cheeky bearded man on a bicycle, busily navigating his schedule in a city that relentlessly thwarts any plans one might have to move promptly from A to B. To describe Dhaka?s serious traffic problems is to begin with sheer understatement, and yet the locals carry on undeterred. We walked into his photo agency full of energetic youth, with an obvious respect for their teacher, in positions of responsibility that showed they belong.
Working alongside Shahidul Alam is an extraordinary experience. There is no self-righteous arrogance, impatient hustling, or delusions of grandeur. Here is a true humanitarian; honest, hard-working, and committed to the cause; a talented man who is loved by many in a social, political and environmental system that is bursting at the seams; one that needs overhauling; and one he has been intimately engaged with for over thirty years. In the most unlikely conditions, with the odds (and sometimes the guns) pointed squarely against him, he manages to get the job done with a centeredness that inspires others to do the same. And what exactly is that job? Born from a simple premise and pitted against a seemingly impossible challenge, he dares to turn perceptions around and broaden our thinking, to rebalance the dynamics of communicative power, to redistribute imagery that impacts contemporary culture, and to respect geographic diversification. Not one to shy from the harshest realities in his country, which are best understood by those living them, Alam is educating for a new vision, which enlightened photography aspires to convey. If we consider the classic vehicles of social control, what happens when multinationals and politicians representing eight countries monopolise a world whose ?majority? often stands like an elephant tied to a rope? This majority will inevitably find its strength and something practical and peaceful can be done to help recognise it.
BANGLADESH PHOTOGRAPHY LONDON GALLERY SHOW
The first UK retrospective of works by internationally renowned Bangladeshi photographer and social activist Shahidul Alam is on at London?s Wilmotte Gallery until December 2011.?Art Radar brings you a selection of portraits and accompanying wall texts from the exhibition.
Click here to read more about the artist and the exhibition, called ?Shahidul Alam: My Journey as a Witness?, on Wilmotte Gallery?s website.
‘Nurjahan’s father’ (portrait), Chatokchora, Sylhet, Bangladesh, 1994. ? Shahidul Alam.
‘Ali Zaman’ (portrait), Chakkar Bazaar, Kashmir, Pakistan, 2005. ? Shahidul Alam.
Continue reading “Bangladeshi photojournalist Shahidul Alam?s first UK retrospective ? picture feast”
About the book
This book showcases Shahidul Alam?s photographs, more than 100 color and black and white plates illustrating the journey of an artistic, social, and political witness from inside Bangladesh. This groundbreaking work retraces his personal vision spanning three decades and provides the best interpretative and investigative angles into a culture and reality that is otherwise often misunderstood in the West. Using photography and journalism as its parameters, it is the first comprehensive vision of Bangladesh. These images are not ?about? the region from a European perspective, nor are they an ethnographic account of an ex-colonial world. Instead, this volume is an ?on-the-ground? insight, exploring its topography with decidedly competent indigenous eyes. A personal ?way of seeing? ? the journey of a witness ? this book offers a reflective picturing of national and geographical truths, where the ?other? is no longer a stranger. Alam provides a purposeful alternative to the media driven images of poverty and destruction, literally defying received notions of the Subcontinent. After many years of struggle, he is a pioneering catalyst, inspiring development from within his ?majority world?; founding an artistic movement that cannot be silenced: the emergence of local photographers, achieving an intimacy with their subjects that truly understands and so rivals Western perceptions.
Alam?s image making carries its editorial eloquence far beyond its subject matter. For over 30 years, he has led the way in developing photography as a discipline in Bangladesh, producing an entirely new generation of acclaimed artists in the international arena. His writing style is personal, sometimes fast paced, often reflective, with magnificent imagery interwoven throughout the narrative.
Purchase?My Journey as a Witness here
About the author
Shahidul Alam is a photographer, writer, curator and activist. He obtained a PhD in chemistry at London University before switching to photography. He returned to his hometown Dhaka in 1984, where he photographed the democratic struggle to remove General Ershad. A former president of the Bangladesh Photographic Society, Alam set up the award winning Drik Agency, the Bangladesh Photographic Institute, and Pathshala, the South Asian Institute of Photography; considered one of the finest schools of photography in the world. Director of the Chobi Mela International Photo Festival and chairman of Majority World Agency, Alam?s work has been exhibited in galleries such as?MOMA in New York, the Centre Georges Pompidou in Paris, the Royal Albert Hall in London and The Museum of Contemporary Arts in Tehran. A guest curator of the National Art Gallery in Malaysia and the Brussels Biennale, Alam?s numerous photographic awards include the Mother Jones and the Andrea Frank Awards. He has been a jury member in prestigious international contests, including World Press Photo, which he chaired. An Honourary Fellow of the Bangladesh Photographic Society and the Royal Photographic Society, Alam is a visiting professor of Sunderland University in the UK and principal of the South Asian Media Academy in Dhaka, Bangladesh. A prominent social activist Shahidul Alam is also a promoter of new media and has lectured and published widely on photography, new media and education, in the?USA, Europe, Africa, Asia, Australia and Latin America.