Bangladesh 1971

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They had risked all to hold on to this moment in history. The scarred negatives, hidden from the military, wrapped in old cloth, buried underground, also bore the wounds of war. These photographers were the only soldiers who preserved tangible memories, a contested memory that politicians fight over, in their battle for supremacy. These faded images, war weary, bloodied in battle, provide the only record of what was witnessed. Nearly four decades later, they speak.
women-marching-in-streets-of-dhaka-in-1971-1152.jpg
Women marching in the streets of Dhaka. 1971. ? Rashid Talukder/Drik/Majority World
A photographic exhibition and film season that focuses on one of South Asia?s most significant political events: the foundation of Bangladesh as an independent state.
pakistani-soldiers-surrendering-aftab-ahmed-1161.jpg Pakistani soldiers surrendering on the 16th December 1971. ? Aftab Ahmed/Drik/Majority World
The Bangladesh war of independence in 1971 was one of the bloodiest conflicts in living memory. In an attempt to crush forces seeking independence for what was then East Pakistan, the West Pakistani military regime unleashed a systematic campaign of violence that resulted in the deaths of thousands of Bangalis. Many of the photographs from the unique collection of the Drik archives will be shown in the UK for the first time.

dismembered-head-in-rayerbajar-rashid-talukder-1111.jpg Dismembered head at the Rayerbajar Killing Fields where intellectuals were slaughtered on the 14th December 1971 ? Rashid Talukder/Drik/Majority World
victorious-muktis-returning-home-523.jpgVictorious Mukti Bahini returning home at the end of the war. ? Jalaluddin Haider/Drik/Majority World
mujib-returns-to-bangladesh.jpg Sheikh Mujibur Rahman on his return to Bangladesh from Pakistan. 10th January 1972 ? Rashid Talukder/Drik/Majority World
In 266 days Bangali, hill people and Adivasi resistance fighters and their allies defeated the military forces of Pakistan. The result was the birth of a new nation – Bangladesh – and the dismemberment of Pakistan.
It was only after the 16th of December 1971 when Pakistani troops surrendered in East Pakistan, that Bangladeshis began to realise the scale of the atrocities committed during the previous nine months.
children-and-shells.jpg Children amidst shells. ? Abdul Hamid Raihan/Drik/Majority World
1971 was a year of national and international crisis in South Asia. The history of Bangladesh is implicitly tied to the partition of India in 1947 and therefore the tragic events of 1971 are linked to Britain?s colonial past. For Bangladesh, ravaged by the war and subsequent political turmoil, it has been a difficult task to reconstruct its own history. It is only during the last few years that this important Bangladeshi photographic history has begun to emerge.
Now decades after the war, Autograph ABP in collaboration with Drik presents a historical photographic overview of Bangladesh 1971 at Rivington Place.
Project Description
A major documentary photographic exhibition of primarily Bangladeshi photographers that focuses on the independence struggle in 1971. The exhibition is produced in partnership with Shahidul Alam, Director of Drik, a media activist and journalist from Bangladesh. This will be the first comprehensive review in the UK of one of the most important conflicts in modern history. It is recognised that over a million people died in 266 days during the struggle for an independent Bangladesh.
UK partner Autograph ABP. Curator Mark Sealy, director of Autograph ABP.
Exhibition open to public April 4th ? 31st May 2008
Press View – Both curators will be available to meet the press 11.30am ? 1pm April 3rd
The exhibition is accompanied by the Bangladesh 1971 Film Season throughout April 2008 in partnership with Rich Mix and The Rainbow Film Society. Please see attached document for full details.
For further information or images, contact Indra Khanna 020 7749 1261 or David A Bailey 020 7749 1264.
Autograph ABP, Rivington Place, London EC2A 3BA.
Notes:
VENUE
Rivington Place
off Rivington Street
London EC2A 3BA
020 7749 1240
April 4th ? 31st May 2008
Open Tuesday – Friday 11am – 6pm
Saturday 12pm – 6pm
Entry is free. Venue is wheelchair accessible.
? Shahidul Alam: Curator, photographer, activist. Gallery Talk (in Bengali) 2pm April 5th
? Mark Sealy: Director of Autograph ABP. Gallery Talk (in English) 6.30pm April 17th
? Many other talks and events to be confirmed
? Bangladesh 1971 Film Season throughout April 2008 in partnership with Rich Mix and The Rainbow Film Society
? Special screening of documentaries and artists? films at Rivington Place to be announced
Photographers included in the exhibition: Abdul Hamid Raihan, Aftab Ahmed, BegArt Collection, Golam Mawla, Jalaluddin Haider, Mohammad Shafi , Naib Uddin Ahmed, Rashid Talukder, Sayeeda Khanom and Bal Krishnan.
—–
press-release-bangladesh-1971.doc

Freedom of Expression Roundtable

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Amnesty International launches Bangla website and discusses freedom of expression in Bangladesh

8 January 2008
irene-khan-and-shahidul-alam-at-drik.jpg Feature on Korean media

MEDIA ADVISORY: Amnesty International, Drik News and Drishtipat are hosting a seminar on freedom of expression in Dhaka on January 9th at 6 pm. Amnesty International Secretary General, Irene Khan, will talk to young journalists, bloggers and activists about the state of freedom of expression in Bangladesh. The meeting will also discuss the important role that the media can play in protecting citizen rights and steps that can be proposed to the Caretaker Government to ensure a free space for human rights defenders and journalists. Irene Khan will also launch Amnesty International?s Bangla website at this event – www.amnesty.org/bangla. The event will take place at Drik Gallery. There will be a live webcastasif-saleh-providing-live-text-feed-0926.jpg Asif Salef of Drishtipat, uploading the live text stream (text provided below). ? Shahidul Alam/Drik/Majority World
irene-khan-at-freedom-of-expression-roundtable-at-drik-0940.jpg Irene Khan, secretary general of Amnesty International speaking at the “Freedom of Expression” roundtable at Drik. ? Shahidul Alam/Drik/Majority World
journalist-akash-talking-of-persecution-by-military-0912.jpg Journalist Jahangir Alam Akash talking of being tortured by military while pursuing an investigation. ? Shahidul Alam/Drik/Majority World. In an email Jahangir informs us: yesterday night, police went my previous house of uposhahor in rajshahi for arrest me, when i attend in a roundtable in dhaka in presence of amnesty international secretary general irene khan.participants-at-roundtable-on-freedom-of-expression-0914.jpg Participants at “Freedom of Expression” roundtable at Drik on 9th January 2007. ? Shahidul Alam/Drik/Majority World
irene-khan-talking-to-participants-of-freedom-of-expression-roundtable-at-drik-0947.jpg Irene Khan, secretary general of Amnesty International speaking to participants at the “Freedom of Expression” roundtable at Drik. ? Shahidul Alam/Drik/Majority World
Transcription by Asif Saleh/Drishtipat
Thanks to the technical team who helped set this up.
=========
greetings
the secretary general of amnesty international irene khan is with us
Shahidul Alam introducing
Irene Khan is not only a Bangladeshi but also first muslim woman head of Amnesty
We will have this show in a different format than usual
This will be a discussion and not room for speech
We want to create dialogue
Shahidul thanking all.
Irene introducing speech with a history of Amnesty
Irene talking…when I am in bangladesh from higher level it seems there is a lively media
But there must be another story
I met the army chief today and expressed my views about freedom of expression
For years now we have picked up a steady stream of journalists who have been attacked and wounded
In times of change we desperately need room for freedom of expression.
I am going to try get a complete picture from every one.
Shahidul now saying we are going to try to keep the discussion small
My name is Akash
I used to work for CSB new
The roundtable is very important for me
I want to get a little bit of time for myself.
because my rights have been severely hampered
Akash describing the story of how his rights were violated
I reported a story in CSB news when a father was shot by RAB infront of his daughter and I got persecuted for this.
Akash describing the process in details….how he has been fleeing for 3 months
he has been living a crippled life for the past 3 months
The oppression that happened to me
Akash has broken down in tears
Describing the judicial process.
Even though the high court has given him bail but still the local court still has issued a warrant against me.
There may be a lot more Akashes out there
Jahirul Huq Tito , Manik Saha to name a few over the years.
I want to live a free life
I want to go back to my profession.
and work for humanity
I want to dream of a new Bangladesh…I don’t want the oppression that has happened against me to happen to any body else,
Irene is speaking
We knew about your case
When you were in detention, I explained your case very forcefully to the foreign adviser.
You said that you do not want justice but just want to live and that shows the desperation of the case.
I want to assure you that Amnesty will do every thing they can.
parvin Sultana asks whether irene feels that we have press freedom in Bangladesh
sanjib drong of adivasi forum speaks..
Describes the case of Cholesh Richil..who was killed on March in Modhupur.
by the joint forces
The killing on the indigenous community is always justified.
I want to request you to take up the case of cholesh richil and follow through.
The perpetrators know that if indignous leaders are killed then nothing happens and that is only going to encourage more killing
I would like Amnesty to find out at what stage the investigation reports are held
Irene speaks.
Irene: We have already picked up the case and already spoke to high level cases.
High level admins
There has been no prosecution on the case
A crime has been committed but no justice has been serveed.
Pavel partha speaks
I want to highlight the violence of the multinational companies.
Companies like Monsanto ..
Our natural resouces are being stolen,
cases like Phulbari is an example of what multinationals can do in the name of progress
Corporations are violating our rights
we want to know what Amnesty can do to highlight this…
Faruq Wasif of Prothom Alo speaks
thank you irene..
Your coming to Bangladesh and solving individual cases are not the solution
we want to highlight the case of 1971….Amnesty was silent during the war of 71
Similarly your stand in this visit was very mild.
Doesn’t it show a very tolerant view of Amnesty towards military regimes?
Omi Rahman Pial speaks from bdnews24…
I am a blogger
What is the limit of my work?
I see Akash in front of me and I fear what may happen to me and what I need to do so that it doesn’t happen to me?
We have lots of irregularities and working under lots of pressure…
I can’t publish news at the right time because our internet will be brought down , calls will be made etc.
Jornalist from Samakal
We are living in an era of depression rather than free expression
I want to hear from Irene — how is she explaining Bangladesh’s current state.
I want to understand the total role of Amnesty in current Bangladeshi situation.
Anisur Rahman from New Age speaks
Cholesh is from my village
Cholesh was a symbol of free expression as well.
Cholesh used to speak for others in the community.
That’s why Cholesh was targetted
They tried not to kill the person Chalesh but silence a whole community.
Garments workers are not getting their salaries but when they are protesting, they are being taken to court.
Also want to highlight the case of tasneem khalil
We don’t know where he is today,
He was a blogger and a journalist at Daily Star.
We are seeing freedom of expression only for a few folks in certain commissions of the government.
He is now talking about some inconsistencies on tax loop holes
not sure..why šŸ™‚
those who are on the web…this is not alam…but asif.
Shahidul asks to keep things shorts
Biplab Rahman , a blogger and journalist speaks
highlights internet monitoring.
telephone tapping
I have done a lot of research on Chittagong Hill tracks
and I want to highlight why mobile network is not there is those 3 disrticts
Therer were towers placed by the telecom companies but it was taken down by the local armed forces
I wanted to highlight the cases of university teachers as well…and think they should be released
Tipu Sultan from Prothom Alo speaks.
The journalists outside Dhaka lives under severe restriction
All the news are screened by authorities
They can not send the news of fertiliser crisis because of joint forces restrictions
They regularly face the threat of extortion cases from the local forces
But the authorities in Dhaka know this but they still deny it.
BUt the Dhaka journalists are doing much better compared to them.
Yesterday there was a case like that in Thaurgaon.
Udisa Islam speaks
Freelancer ..used to be in tv
Another introduction of mine is — I am the wife a teacher who were detained in Rajshahi University,
I am hearing a lot of sad stories..
but what is the worth of presenting this here?
We need to share this stories with each other ALL the time
This I am saying as a grassroots journalist,.
Last Aug 22nd whatever happened in bangladesh, everyone knows
Similarly whatever happenned with the museum statues.
The media played a brave role there.
How were those published and not some other stories?
Journalists oppression goes on for years!!
Its not because of state of emergency
Tipu Sultan (another victim) was not created under State of emergency (SOE)
it will happen again and again.
We need to talk about the whys of that..
Are we going to talk about the 20 students that still in prison from the university crisis?
Hana Shams Ahmed of Daily Star speaks
I want to highlight the kind of censorship after 1/11
We are very demoralised
speacially after the arifur Rahman incident.
We are very demoralised…and we can talk any thing about religion or army,
priscila raj speaks
Want to highlight three things….
Extra judicial killings
How can we work with International orgs to stop creatiion of organizations like RAB
In cases of State of emergency the most suffered are the people who are the most vulnerable in the society ..like the adibashies (indigenious community)
Lastly why do we never see the results of enquiry reports of the investivative commissions
Zaid Islam a photo journalist speaks
Sara Hossain speaks
I am here as a lawyer who represented some of these journalists who were victims in the last few years.
We need to talk about what we can do to stop this.
We always complain about internation conspiracy but we need to work in our own houses as well.
We don;t coordinate our work,.
I highlight time to the stories about slum dwellers and I send the reports to you journalists but no journalists show any interest..
But that is not the case if the story is about a big politician’s bail.
Amirul Rajib, a photo journalist speaks,
When a big crisis happens and media highlights the issue a lot but not many people are found to help them.
other than the family
We don’t have a infrastructure…
to handle these cases.
we all have to have our own personal network…
How can Amnesty help in all these cases to build an infrastructure.
to handle cases of oppression,
and also cases of regular engagement with the grassroots is needed from int orgs.
Anis highlights that no local journalist in Modhupur highlighted Cholesh’s case because they knew that that they will not survive if they highlighted that.
Ataur Rahman of journalists forum thanks to portray the current picture of bangladesh media today.
Amnesty needs to have a presence in Bangladesh.
I want to blame Amnesty for today’s crisis somewhat.
they need to have a presence in Bangladesh.
We have to look at what is happening in South Asia as a whole as well.
Amnesty needs to play a much stronger role.
here
Another question speaking about how unfairly he was sacked from Amnesty Bangladesh 5 years ago.
Najma Chowdhury from Shwadesh Khabor Weekly…
Do you think anything will change after your visit, Irene Khan?
Chandan Shaha from a weekly,,,
He highlights a case where a minister was sacked because of taking a bribe from a multinational
and wonders why the minister got sacked and nothing happened to the multinational.
Irrelevant talk about corruption of govt
Does Amnesty have a way to research these stories? Shouldn’t they already know these things?
Someone from Manusher jonno speaks
tallks about child rights in Bangladesh
what to do for children prisoner?
Shafiqul Huq Mithu speaks about jahirul Huq Tito in Pirojpur.
another journalist who has been taken in to jail by the admin.
Highlighting details of Tito’s ordeal with the court and but law enforcement agency.
Shahidul speaks,
Highlighting the permission that he had to take for the event..
at World press freedom day.
which says that there you can not criticise the govt in such cases.
We are violating law here by criticizing the govt…Shahidul mockingly reminds Irene,
You all highlighted a lot of cases here..
As journalist you tend to be in the present.
But the activists have to take a longer term perspective..otherwise it gets very depressing…
You all talked about today…but we need to talk about the past as well.
When you take a long term view of human rights, there is not a supported political system where human rights are violated…
go back from 1971…there is a thread of impunity where human rights violations have been left unquestioned
National Human Rights Commission is something that can be very powerful
Whether it is going to be a watchdog or a lapdog, it will all depend on how much pressure we ALL can create
A lot of people told me that this year extra judicial killiing have been reduced…but I am not satisfied by such replies.
We need to highlight why they are going on and what is being done to stop it.
ON freedom of expression..
Irene asking why all the draconian rules are necessary under state of emergency..
These rules are hanging like an axe?
for people..
One think that that has struck me after talking to a lot of people…
civil society and govt have understood clearly how they can use international laws and international civil society to protect the human rights in Bangladesh.
One thing to highlight is there is a worldwide network of human rights defenders.
Today’s event is being captured by people worldwide and that says a lot.
about this network,
We have an enormous opportunity in the internet to create a worldwide network..
that is why Amnesty is starting a Bangla Human Rights Portal for everyone.
I hope you all will take part in it and create a network.
What I am saying is not going to solve the problems.
But if we all create a noise together and work for change, change will happen.
We All need to work together.
on this.
We are hoping we will be able to make our website more interactive.
http://www.amnesty.org/bangla
Irene talking about the question on economic and social rights.
and explaining the campaign on human dignity which focuses on poverty.
what is relationship with human rights and climate change , poverty etc …
This is just a partial transcript of the whole conversation that took place.
Faruk Wasif and Irene are having an exchange over whether West has monopoly on human rights
We are closing …
thank you all
Shahidul thanking,,,Naeem, Givan, Asif for organizing this and highlighting the collaboration of a lot of people.
Shahidul ends with saying that the movement is ours whether or not Irene Khan is there or not,

The South Takes The Picture

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New Internationalist editor Dinyar Godrej?s email asking us to participate in the 400th issue of the magazine a few months ago was a great opportunity. But with Dhaka in flames and our own struggles to ensure some semblance of fairness in the elections, we passed it on to other activists.
Vanessa Baird?s subsequent email suggesting an issue of the New Internationalist based on our organization ? the Drik photo agency and Pathshala photography school ? as an example of how some of us in the Majority World are challenging the global information flow, came as an unexpected reprieve.
Our immediate political problems in Bangladesh hadn?t gone away. A tribal activist had been brutally killed by the army, and a journalist friend who had been courageously reporting on military misrule had been picked up in the middle of the night.
So things were far from easy on the home front, but writing about, and showing, what had been our central struggle over the last 20 years was an opportunity we couldn?t miss. We had all lived it. More importantly, with our majorityworld.com site up and running and slowly beginning to get pictures into print, we weren?t just talking about change. We were witnessing it taking place.
This issue of the magazine could hardly have been better timed. Majority World photographers embraced the idea: from the small studio of VAST ? a voluntary artists association in Bhutan ? to a crammed office room in Santa Cruz, Bolivia; from the enthusiastic Photo Circle in Kathmandu to a hotel lobby in Dili, Timor Leste.
Our FTP site has been busy and the pictures ? some of which are featured in the pages of this issue ? have been flowing in. After years of trying to persuade others, Majority World photographers have taken things into their own hands. Watch this space.
Shahidul Alam, Drik/Pathshala for the New Internationalist Co-operative
—————————————————————————————-
The above editorial had been written several weeks ago, but the magazine has just hit the stands. Links to the PDFs of the magazine follow. The online version should be up on the NI site in about six weeks.
26th July 2007. Manila.
ni403cover.pdf
01.pdf
new-internationalist-majority-world.pdf

Justice for Nurjahan

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Photographs Shahidul Alam
Text Rahnuma Ahmed

It was reported in the papers as suicide. On 10 January 1993 Nurjahan, a woman in her twenties from a struggling peasant household from the Maulvi Bazar district of north-east Bangladesh, was found dead from poisoning at her parents’ house in the village of Chattokchara.
Nurjahan Begum, 7th among 9 daughters, had been married five years before the incident. However, her husband abandoned her and she returned home to live with her parents. Later, her parents arranged another marriage for her, but since polyandry is forbidden by Muslim law, it was necessary to discover whether her first marriage had been properly dissolved. Nujahan’s father consulted the village imam (religious leader), who declared that she was free to marry. However, he revoked this later and claimed that the marriage was illegal because the first still stood. A shalish (village council for settling disputes and trying offending villagers) met to judge whether Nurjahan and any of her family members had broken the law. The shalish found Nujahan guilty of fornication, on the grounds that she was still married to her first husband; after debating the punishment, it decided that 101 pebbles should be thrown at Nurjahan and her second husband.
Pebbles were preferred to stones since the intention, reportedly, was to shame the couple rather than hurt or kill them. Nurjahan’s parents were also to be punished; the shalish decreed that they should be beaten with a broom. Nurjahan was made to stand in a hole that was then filled, half burying her, to receive her punishment. As she did so a member of the shalish approached her and castigated her for the shame she had brought on her family. She was not fit to live and should kill herself. Nurjahan was found dead the next day.
f9-roll108-fm11-tc.jpg
Nurjahan’s father
nurjahans-father-f9-roll114fm20-tc.jpg
Nurjahan’s father: “This is where I found my daughter’s body.”
The affair was reported in a local newspaper. A campaign was launched by women’s groups to demand a criminal investigation into the circumstances of the death. Public outrage and the success of the campaign turned it into a landmark case;
accused-being-taken-to-court-f8-roll-91-fm35-nurjahan.jpg
Accused being taken to Moulvibazar court
accused-in-moulvibazar-court-f8-roll92-fm30.jpg
The accused in Moulvibazar court
proceedings were brought against the imam and the members of the shalish only a year after Nurjahan’s death. He and eight others were subsequently found guilty of abetting the suicide and received the maximum possible penalty of seven years’ hard labour. The village shordar (leader) died of illness while in custody.
accused-in-jail-f8-roll-91-fm35-nurjahan.jpg
The accused in court jail.
imam-leads-prayers-in-jail-f8-roll98-fm19a-tc.jpg
Imam leading prayers in court jail.
Nurjahan’s father believes that his family was made to suffer because of a long-standing enmity between him and the shordar. A female relative of the shordar spoke ill of Nurjahan. “She was a bad woman,” she said. “She would be seen working outside her home.” A rickshaw-puller from Chattokchara came to her defence. “Yes, she worked outside her home. But what other choice did they have?” he argued. “The family is poor.” But he did harbour some doubts. “Why was the wedding held secretly? Why were we not invited?”
Nurjahan’s death has raised many issues for the Bangladeshi women’s movement. Her tragedy has highlighted the manifold forms of women’s subordination within rnarriage, the family and within the community. First, Nurjahan was abandoned by her husband. Then it was the imam who held the knowledge about whether she was free to marry, and he misled her. Finally, it was the members of the shalish, all men, who judged and punished her.
Shalishes have been known to fine and discipline members of the community; at the same time, there are also instances of women disobeying or ignoring and, in some cases, challenging shalish pronouncements. Nujahan’s death has given rise to questions about the sphere of jurisdiction of the shalish, which is a community body with no legal status.
wife-of-accused-f8-roll92-fm15-tc.jpg
Wife of one of the accused, waiting outside courtroom.
There are few reminders of Nurjahan herself. Of her belongings, a torn corner of a shari, and a shawl she was wearing when she died, have been put aside. Her few remaining clothes were being worn by women in her family. Her only other belongings, a pot and two pans. were being used by her mother.
The family has no photographs. Her grave, like that of the shordar is a small clearing on a hillock near the village, scarcely recognisable as such. The district commissioner promised that the site will be named “Nurjahan tila”.
sister-at-nurjahans-grave-f9-roll107fm15-tc.jpg
Nurjahan’s sister at her grave.
The government, in turn, announced that a road would soon be built to Chattokchara. However, in all likelihood, this is probably more significant for visiting journalists and officials, than for her family.

Profits versus the Poor

?I have lost a son, maybe I?ll lose another, but I won?t let them setup a coalmine here.? To Tahmina Begum who had lost her son Toriqul to police bullets, her land was also her family. It could have been a ?B? rated western except that it is set in the east. People wanting to hang on to their ancestral land versus mining companies wanting huge profits. There have been only minor changes from previous scripts. When farmers wanted fertilizers and seeds, the police had opened fire killing them, when they wanted electricity to irrigate their soil, the police had opened fire killing them. Now that they want to retain their land rather than have it converted into coal mines again the police have opened fire killing them. The Shaotals, being indigenous minority groups, find themselves even more vulnerable within this persecuted community. In the shootings on the 26th September 2006, in Phulbari, Dinajpur, in northwestern Bangladesh, at least six villagers are known to have been killed, over a hundred are said to be missing.

Continue reading “Profits versus the Poor”

I hear the screams

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Even after years of playing Pied Piper with a camera, I am still taken aback by children insisting on being photographed. It was September 1988, and we had had the worst floods in a century. These people at Gaforgaon hadn’t eaten for three days. A torn saree strung across the beams of an abandoned warehouse created the only semblance of a shelter. Their homes had been washed away. Family members had died. Yet the children had surrounded me. They wanted a picture.

It was dark in that damp deserted warehouse, but the broken walls let in wonderful monsoon light, and they jostled for position near the opening. It was as I was pressing the shutter that I realised that the boy in the middle was blind. He had pushed himself into the centre, and though he wasn’t tall he stood straight with a beaming smile.
Blind Boy in Goforgaon
Shahidul Alam/Drik/CARE

Clip on story of the blind child, from keynote presentation on citizen journalism at 50th Anniversary of World Press Photo in Amsterdam.
I’ve never seen the boy again, and today I question the fact that I do not know his name. But he has never left my thoughts and often I have wondered why it was so important for that blind boy to be photographed.
It’s happened elsewhere, in boat crossings at the river bank. In paddy fields heavy with grain, in busy market places. A shangbadik (literally a journalist, but in practice any person with a half decent camera) was hugely in demand. They refused to take the fare from me at the ferry ghat. Opened up their hearts and told me their most personal stories. Confided their secrets, shared their hopes. Never having deserved such treatment it has taken a while for me the photographer, to work out why being photographed meant so much to that blind child.

The stakeholders of Bangladeshi newspapers are the urban elite. Consequently stories from the village are about the exotic and the grotesque. Village people exist only as numbers, generally when plagued by some disaster and only when figures are substantial. A photograph in a newspaper, regardless of how token the gesture, is the only time a villager exists as a person. A picture on a printed page would have lifted that blind boy from his anonymity. That humbling thought stays with me whenever I am feted as a shangbadik in some small village. I receive their gift of trust gently, careful not to break the delicate contents.

It was as a photographer of children that I had begun my career. It was way before 9/11 and one could make appointments with strangers and go to their homes. I took happy pictures of kids, and parents loved them. It was easy money, except when I would photograph the children of poor parents. They loved the pictures but couldn’t afford to pay, so I would quietly leave the pictures behind and pay the studio out of my pocket. Back in Bangladesh, the only way I could make money was as a corporate photographer, but something else was happening. We were in the streets, trying to bring down a general who had usurped power. I didn’t know it then, but I was becoming a documentary photographer. Suddenly taking pictures of children meant more than smiling kids on sheepskin rugs.

As the pressure against the general mounted, I photographed children who joined the processions. The night he stepped down, I photographed a little girl with a bouquet of flowers. She was out with her dad in the middle of the night, celebrating the advent of democracy.

I am back in Kashmir eight months after I had been here photographing the advent of winter. The valleys of this fertile land are green with new crops,Ā Ā Child in Siran Valley rubble
Shahidul Alam/Drik/CONCERN
but many of the homes are still to be rebuilt. As I walked through the rubble, the kids again wanted to be photographed.
NAJMA
Shahidul Alam/Drik/CONCERN
Najma came running, her bright red dress popping out of the green maize fields.Unsure at first, she smiled when I told her she had the same name as my sister.
Zaheera singing nursery rhymes
Shahidul Alam/Drik/CONCERN
Zaheera, a cute girl with freckles, gathered her friends and sang me nursery songs. But my thoughts are far away. Despite the laughter and the nursery songs very different sounds enter my consciousness. I remember the children screaming on the night of the 25th March 1971, when I watched in helpless anger as the Pakistani soldiers shot the children trying to escape their flame throwers. The US had sent their seventh fleet to the Bay of Bengal, in support of the genocide. Today, as I remember the Palestinians and the Lebanese that the world is knowingly ignoring, I can hear the bombs raining down on Halba, El Hermel, Tripoli, Baalbeck, Batroun, Jbeil, Jounieh, Zahelh, Beirut, Rachaiya, Saida, Hasbaiya, Nabatiyeh, Marjaayoun,Tyr, Jbeil, Bint Chiyah, Ghaziyeh and Ansar and I hear the screams of the children. Piercing, wailing, angry, helpless, frightened screams.

News filters through of the children killed in the latest bombing. The photographs have kept coming in, horrific, sad, and disturbing. Mutilated bodies, dismembered children, people charred to ashes. But none as vulgar as those of Israeli children signing the rockets. Death warrants for children they’ve never known.

I remember my blind boy in Gaforgaon. The Lebanese and the Palestenians are also people without names. Their pain does not count. Their misery irrelevant, their anger ignored. Sitting in far away lands, immersed in rhetoric of their choosing, conjuring phantom fears necessary to keep them in power, hypocritical superpowers fail to acknowledge the evil of occupation. The ‘measured response’ to a people’s struggle for freedom will never in their reckoning allow a Lebanese or a Palestinian to be a person.

When greed becomes the only determining factor in world politics. When the demand for power, and oil and land overshadows the need for other people’s survival, I wonder if those screams can be heard. I wonder if those Israeli children will grow up remembering their siblings they condemned. I wonder if through all those screams the war mongers will still be asking “why do they hate us”?

11th August
Siran Valley, North West Frontier Province, Pakistan

Having the Eye

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Preface to Drik Calendar 2006

It was a stinker of a letter. Written to an organisation I knew little about. I was angered that World Press Photo (WPP) had little to do with the world and was largely about European and North American photography. Though it featured work from all over the globe, the jury, the photographers who entered the contest and the winners were largely white western males. So in my letter I had suggested that they rename themselves Western Press Photography. The phone call was a surprise. We didn’t get too many overseas calls in those days. The managing director of WPP Marloes Krijnen, politely pointed out that they too had written me a letter, still on its way, which was dated prior to my letter, and hence had not been written in response to my tirade. They had just asked me to be a member of the international jury. My letter had also mentioned that I considered WPP to be a very important contest despite its shortcomings, and should the opportunity arise, I would be interested in hosting the show in Bangladesh . This led to the second part of the conversation. While the exhibition is generally booked way in advance, there had been a cancellation, and should we want it, the show could be made available in three weeks.

Having recovered from the initial excitement of being asked to be on the jury of what is considered the pinnacle of press photography, I tried to compose myself and considered the options. I needed time, and asked Marloes whether she could call back in a couple of hours. The exhibition could only be shown in its entirety, and we had faced considerable problems with our own exhibitions. The major galleries were either state-owned or belonged to foreign cultural centres not prepared to question the government, or be controversial in any way. Our work had always been critical of the government and the elite, the donor community, the patriarchal system and of the self appointed protectors of religious and family values. We didn’t know of a single gallery that would guarantee that no censorship would take place, except for our own gallery. There was just one small problem. Our gallery hadn’t yet been built. We had drawn up the architectural plans for it though, and part of the superstructure was in place, but still no gallery. I was stalling.

Rafique Azam was then not the superstar that he is now. This was his first project, and we had wanted to give these young architects a free hand to interpret our ideas. I rang him up and asked him if he could build us a gallery in seventeen days! Rafique didn’t react as badly as one might have expected. He knew I was crazy enough to have meant it and having told me how ridiculous the idea was, settled down and gave me a list of all the things he would need to make it happen. He needed to work round the clock, a fair bit of money, some of it the following morning, and full freedom. There could be no slip ups in the supply chain. It was going to be a race to the finish as it was.

Osman Chowdhury was a client, but it was as a friend that I rang him up. There was no way he could organise the sort of money we needed at such short notice from his company, but he was able to promise a sum that we could get started with. And he could provide it the next morning.

Marloes rang as she had promised, and I said we would be happy to host the exhibition, in our own gallery. There the polite conversation ended. But that was also the beginning of a wonderful relationship between our two organisations, World Press Photo and Drik. A relationship that has blossomed over the years.

It didn’t take long for the news to spread. Mr. Gajentaan, the Dutch ambassador was a friend who had a strong interest in the arts, and had arranged photo exhibitions in his home in the past. Excitedly he rang me and wanted to come straight over. WPP coming to Bangladesh was big news, and he wanted to be part of the action. He was calm enough when we told him about our plans to have it in three weeks and in our own gallery. It was when we told him he was standing inside the gallery that he flipped. There was no gallery. ?Do you realise this is the most prestigious photo exhibition in the world?? he asked. Yes, we knew. And we would have a good show. A much shaken ambassador went back to Gulshan. To be fair, he didn’t call World Press to tell them that the gallery was only being built.

There was more to the story. It was 1993 and the Awami League and the Bangladesh Nationalist Party were fighting each other in the streets, locked in a bitter battle for power. This we felt, could be a chance to unite these warring factions. We knew there was no chance of getting the two leaders of the parties at the same table, but the deputy leader of the BNP was Dr. Badruddoza Chowdhury, a student of my father, and we could probably approach Abdus Samad Azad through a personal friend Kaiser Chowdhury who was then the chief whip of the Awami League. Having been so critical of World Press Photo in my letter to them a week earlier, I was now extolling its virtues to two of the most powerful politicians in the country. Kaiser and my mum did the original groundwork, and I put in a good pitch about how this would demonstrate to the nation that they were forward looking political parties, and how much media coverage the event would have. It worked, and they agreed to jointly open the show. Now I had another tool to play with. While local media didn’t really know much about World Press, the fact that these two sworn enemies were going to open a show together was big news, and we managed to get the media excited. Mahfuz Anam of The Daily Star, the biggest English daily, agreed to do a whole media campaign around the event, and the bits were beginning to fall into place. At the packed press conference on the veranda of my parents’ home (Drik rents the upper floors), we were stalling for time, to let the paint dry in the gallery upstairs!

?rp?d Gerecsey the curator (who later went on to become managing director of WPP) and Bart Nieuwenhuijs, the board member who had come to setup the show, huddled with my colleagues and spoke in agitated whispers. Who was going to bell the cat? Eventually it was Bart who came up to me. They wanted to put in nails on the freshly painted walls! We did put in those nails, and the show was a spectacular success. The two deputy leaders cut the ribbon together, and confessed that they enjoyed sharing a cup of coffee, despite their political differences. The media went gaga. WPP and Drik had together pulled it off.

Since then, the two organisations have continued to work together at many levels. An impromptu seminar for press photographers followed. We arranged for the show to go to Kathmandu and Kolkata. Rabeya Sarkar Rima of the Out of Focus group became the first Asian child jury member. I remember telling Marc Proust when he came to curate yet another WPP exhibition in our gallery, that Nurul Islam, the young man who sold us flowers in Monipuri Para, had also been a former child jury member. We had the WPP retrospective exhibition at the National Museum at the first Chobi Mela, the festival of photography that we launched.

We collaborated on many other things. We started nominating young Asian photographers for the Masterclass, and one year, two photographers from Pathshala, our school of photography, GMB Akash from Bangladesh and Tsvangirayi Mukwazhi from Zimbabwe were amongst the twelve talented photographers in this international pool. Pathshala itself relied heavily on WPP for its existence. With no state or other external funding, it was always going to be difficult to setup and maintain a school of photography in our region. We utilised the first WPP seminar programme to launch the school, and the tutors and the workshops that WPP provided became important anchors for what has now become a degree programme. WPP even provided a grant which was a big help in those early days. Since then we have collaborated on training Asian and African photographers in regional programmes organised in Jakarta and Kenya , and been involved in longer term educational projects in Sri Lanka and Tanzania . I myself worked in the jury another three times, once as chair, and I have spoken at several WPP events.

Interestingly, it was the very issues I had raised in that original letter which the two organisations have worked together to try and solve, and both WPP and Drik are very different organisations today.

It is to celebrate that friendship, on the 50th Anniversary of World Press Photo, that we put together this calendar. The images are by the majority world participants of WPP seminars and their tutors, some of the finest photographers around. It is a protest against the continued use of exclusively white western male photographers to document the majority world that developmental agencies and western media have made their standard practice. It is a direct answer to the superior race argument that they continue to use to justify their actions and to dismiss our work when they say ?they don’t have the eye?.

Shahidul Alam

Where Elbows Do The Talking

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It was a mixed week. Sandwiched in between the hartals and the ekushey
barefoot walks and the launch disaster, were news items that led to very
different emotions at Drik. Shoeb Faruquee, the photographer from Chittagong, won the 2nd prize in the Contemporary Issues, Singles,
category of the world’s premier photojournalism contest World Press
Photo. The photograph of the mental patient locked by the legs as in a
medieval stock, is a haunting image that is sure to shake the viewer.
However, the stark black and white image tells a story that is far from
black and white. In a nation with limited resources, medical care for
all is far from reality. Expensive western treatment is beyond the reach
of most, and has often been shown to be flawed. Alternative forms of
treatment is the choice of many. The fact that the boy photographed was
said to have been healed, further complicates the reading of this image.
Shoeb is one of many majority world photographers who have attempted to
understand the complexities of their cultures, which rarely offer
simplistic readings.
It was later in the week, that Azizur Rahim Peu, told me that the
affable contributor to Drik, Mufty Munir, had died after a short illness
at the Holy Family Hospital. I would contact Mufty when I was in
trouble, needing to send pictures to Time, Newsweek or some other
publication. We would work into the night at the AFP bureau, utilising
the time difference, to ensure the pictures made it to the picture desk
in the morning. Occasionally, while hanging out at the Press Club
waiting for breaking news, we would dash off together. Mufty
uncomfortably perched on the back of my bicycle and me puffing away
trying to get to the scene in time.
Wire photography is about speed, and their photographers are known for
being pushy, but this shy, quiet, self effacing photographer made his
way to the top through the quality of his images. We had to push him to
have his first show in 1995, which our photography coordinator Gilles
Saussier and I curated. The show at the Alliance was a huge success, but
Mufty was not impressed by the excitement the show had created. He
simply wanted to get on with his work.
He did have problems with authority, or rather, authority had problems
with him. Despite his shyness, he was a straight talking photographer,
who didn’t hesitate to protest when things weren’t right. Not being the
subservient minion the gatekeepers of our media are accustomed to, he
often got into trouble. But the clarity of his protests played an
important role in establishing photographers’ rights. In the abrasive
world of press photography, where elbows do much of the talking, this
gentle talented practitioner will be dearly missed.
Unknown to the rest of us, the brother of Rob, the gardener at Drik,
died in the launch that sank in the storm at the weekend.

The Land Became The Sea

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As we watch in horror at the scale of the event, several things come to mind. How events a thousand miles away can affect our lives in so many ways. How connected we are in our joys and our sorrow. I realise that Bangladesh was not as badly affected as our neighbours, and that we should take pride in our achievements, but Bangladeshi newspapers today gloated over the victory of the Bangladeshi cricket team over India in their headlines! While I fret over the fact that the media plays on the negative, to downplay a disaster of such proportions in favour of a cricket match said a lot about our sense of proportions. In 1991, when nearly a million people had gathered to demand the trial of a war criminal, the government had chosen to ignore the news and mentioned instead the man of the match in a cricket game in Shunamganj. I had hoped a free media would play a more responsible role.

As I watch BBC and CNN interview British and German tourists, and the director of Oxfam from her office in Oxford, I remember my experiences in the 1991 cyclone where one hundred and twenty thousand people died in Bangladesh. As I stumbled through the debris, trying to get a sense of what had happened on the night of the 29th April 2001, I kept asking “What happened that night?” The aid workers told me of the number of bags of wheat they had distributed. The government officials quoted the figure in dollars that would be needed for reconstruction, the engineers spoke of the force of the wind.

A young woman in Sandweep looked at me and said “The land became a sea, and the sea became a wave”.

I try to imagine the tsunamis hitting the coasts of India, and Sri Lanka and Indonesia, and remember her words. The thousands whose lives have been wrecked by the earthquake do not constitute the ‘experts’ that the media consider worth asking.

Shahidul Alam
27th December 2004
Dhaka

Identity Card

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The mail today brought a copy of ?Amader Kotha?. A publication by the American Center in Dhaka. The lead article in this unsolicited newsletter by Abu Naser was entitled ?An International Election in November: A chance for Bangladesh to learn about democracy?. As I landed at Zia International Airport yesterday, my colleague Tanvir, told me of the gunning down of the opposition MP the day before. At night I stopped the rickshaw to photograph the burning cars in the streets. The violence, the protests, the despair, is all too familiar. We saw it during military rule and during all the subsequent regimes. Abu Naser rightly, points to failures in the democratic process in Bangladesh. But to learn about the democratic process from the US! Perhaps it had to do with Rumsfeld?s claim that their failed cover up of military atrocities was evidence of a healthy democracy. Their previous ?exemplary? election is perhaps better left unmentioned.

I remember the surprise in the media in the UK, aghast at what was being reported from Iraq. It is hardly as if this had not been known before, by anyone who might have cared to listen. I am less surprised, when the confirmed atrocities by US soldiers, is suddenly seen as something done by them out there. No talk of coalition forces this time. No talk of united responsibilities, or united blame. I am not surprised when the assassinations in Palestine resulted in merely the predictable ?condemnation? by the UN and western nations. ?Tut tut, you mustn?t do that you know!?

I see the fire raging around me and throughout the globe and remember Mahmoud Darwish?s anger.

Shahidul Alam

Dhaka. May 10th 2004

Identity Card

Write down!

I am an Arab

And my identity card number is fifty thousand

I have eight children

And the ninth will come after a summer

Will you be angry?

Write down!

I am an Arab

Employed with fellow workers at a quarry

I have eight children

I get them bread

Garments and books

from the rocks..

I do not supplicate charity at your doors

Nor do I belittle myself at the footsteps of your chamber

So will you be angry?

Write down!

I am an Arab

I have a name without a title

Patient in a country

Where people are enraged

My roots

Were entrenched before the birth of time

And before the opening of the eras

Before the pines, and the olive trees

And before the grass grew

My father.. descends from the family of the plow

Not from a privileged class

And my grandfather..was a farmer

Neither well-bred, nor well-born!

Teaches me the pride of the sun

Before teaching me how to read

And my house is like a watchman’s hut

Made of branches and cane

Are you satisfied with my status?

I have a name without a title!

Write down!

I am an Arab

You have stolen the orchards of my ancestors

And the land which I cultivated

Along with my children

And you left nothing for us

Except for these rocks..

So will the State take them

As it has been said?!

Therefore!

Write down on the top of the first page:

I do not hate poeple

Nor do I encroach

But if I become hungry

The usurper’s flesh will be my food

Beware..

Beware..

Of my hunger

And my anger!

Mahmoud Darwish ? 1964

An extract from the text of the Berlin Festival Appeal:

“Mahmoud Darwish was one of the best-loved Arab poets of modern times and counts among the most eminent poets in the history of world literature. Thousands flocked to hear his readings, and his volumes of poetry have been published in the hundreds and thousands. Numerous pieces have been translated into more than 30 different languages. His poems have been transformed into folksongs and many of his verses have taken on the character of proverbs.

Darwish‘s poetry draws inspiration from the tradition of ancient Arab poetry and Modernist influences and borrows from the style and language of both the Qur’an and the Bible. Few other poets have displayed such dedication to articulating a vision of a meaningful, real and fair peace between Arabs and Israelis, which furthers a dialogue between two voices and two different outlooks on life, while ensuring that one does not impose its view upon the other.


In the tradition of ancient Arab poetry, the poet assumes the role of spokesperson for his people. And despite Darwish‘s move away from this role since the 1990s, many readers still viewed him as Palestine’s literary ambassador to the last.

Mahmoud Darwish was born in 1941 in the village of Al-Birweh near Acre. In 1948, he fled to Lebanon and returned after the foundation of the state of Israel. He worked as an editor for various political and cultural journals in Haifa. After being imprisoned on numerous occasions, he left Israel in 1970 and went into exile. He has lived in Moscow, Cairo, Beirut, Paris and, most recently, in Amman and Ramallah. In 1987, he was elected to the executive committee of the Palestine Liberation Organization and helped draft the Palestinian Declaration of Independence in 1988. He left the organization in 1993 in protest against the signing of the Oslo Accords. He received numerous awards, including the Lannan Prize for Cultural Freedom in 2001 and the Erich Maria Remarque Peace Prize in 2003.

Darwish died on 9 August 2008 following heart surgery. He was buried in the West Bank city of Ramallah and granted a state funeral.”


Gallerie Publishers
208 Om Chambers
Kemps Corner
Mumbai 400036
India
————————————————————————————

Mahmoud Darwish 1942 – 2008

The Prince Claus Fund honours the memory of Mahmoud Darwish, the quintessential poet of Palestine, a man of exemplary courage, warmth and insight. In 2004 the Fund was honoured to name Mahmoud Darwish the Principal Prince Claus Laureate for his unique literary achievements and in recognition of his role as a beacon of the human spirit in the struggle for justice and peace. Mahmoud Darwish transformed his personal experience of the harsh realities of the Palestinian situation into universal expressions of exile, displacement and struggle. He was an outstanding artist. His work transcends time and place, and draws on collective memories of loss, love and longing.
The Board, Director, advisors and staff of the Prince Claus Fund mourn the loss of Mahmoud Darwish. To his family, friends and fellow poets, please accept our deepest condolences.
13th August 2008