Shahidul Alam has long been gripped by the life of a woman he has never met.
It?s been two decades since Kalpana Chakma was abducted, but Shahidul refuses to forget her. Standing at the threshold of his latest exhibition,Kalpana?s Warriors, the Bangladeshi photographer pauses for a moment.
In the room beyond is the third in a series of photo exhibitions that began with Searching for Kalpana Chakma in 2013, and was followed by 18 in 2014. The woman around whom these pictures revolve is notably absent from them. She was abducted at gunpoint in the early hours of 12 June 1996 from her home in Rangamati in Bangladesh. Her captors were a group of plain-clothed men who were recognised as being from a nearby army camp. Kalpana never returned home and her fate remains unknown.
When the exhibition first opened at the Drik Gallery in Dhaka, many of those who had been photographed could not risk coming out of hiding, yet the room was full of people who knew Kalpana?s story intimately. Some simply stood for a while before the portraits, others wept. Continue reading “Kalpana's Warriors in Delhi”
Kalpana Chakma, a young leader of the Bangladeshi Hill Women?s Federation, was abducted from her home by military personnel and civilian law enforcers at gunpoint on 12 June 1996. She remains missing. Through this work, part of Drik?s ?No More? campaign, photographer?Shahidul Alam?has tried to break a silence that successive governments, whether civilian or military backed, have carefully nurtured. The exhibition uses laser etching on straw mats, an innovative technique developed specifically for this exhibition. The process involved in creating these images is rooted to the everyday realities of the hill people, the paharis. Interviewees had repeatedly talked of the bareness of Kalpana?s home. That there was no furniture. That Kalpana slept on the floor on a straw mat. The straw mats were burned by a laser beam much as the fire that had engulfed the pahari villages.
Shilpakala Award recipientShahidul Alam, set up Drik and Majority World agencies, Pathshala South Asian Media Institute and Chobi Mela festival. Honorary Fellow of the Royal Photography Society and visiting professor at Sunderland University. Alam has chaired the World Press Photo jury. Alam also introduced email to Bangladesh. His book my journey as a witness has been described as ?the most important book ever written by a photographer? by legendary picture editor of?Life Magazine, John Morris. He is an internationally acclaimed public speaker and has presented at Hollywood, National Geographic, re:publica, COP21 and POP Tech.
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The dot matrix Olivetti printer was noisy. The XT computer came without a hard drive: two floppy disks uploaded the operating system. When the electricity went (as it often did), we had to reload it. Our bathroom doubled as our darkroom. A clunky metal cabinet housed our prints, slides, negatives and files. Anisur Rahman and Abu Naser Siddique were our printers; I was photographer, manager, copy editor and part-time janitor. Cheryle Yin-Lo, an Australian who had read about us in a magazine, joined as our librarian. We offered and she happily accepted a local salary. My partner Rahnuma Ahmed often got roped in when we were short-staffed, which was often.
A behind the scenes glimpse at a remarkable media phenomenon:
The dot matrix Olivetti printer was noisy. The XT computer came without a hard drive: two floppy disks uploaded the operating system. When the electricity went (as it often did), we had to reload it. Our bathroom doubled as our darkroom. A clunky metal cabinet housed our prints, slides, negatives and files. Md. Anisur Rahman and Abu Naser Siddique were our printers; I was photographer, manager, copy editor and part-time janitor. Cheryle Yin-Lo, an Australian who had read about us in a western magazine, joined as our librarian. We offered and she happily accepted a local salary.
LOOKING at this photograph, one of the few in our library where the photographer is unknown, I realise how times have changed. This is the undisputed leader of a country with his arms across the shoulder of a newspaper photographer not known for being affiliated to his party.
No security guards, no party goons, no chamchas. Both men are at ease with the situation. The smiles, the casual gait, Rashid Bhai with his camera dangling, a single prime lens. Not even a camera bag (and this was the time of film when you only had 36 exposures). How times have changed. Sure, we live in a more security conscious world, but the distance between the leaders of today, and the people, isn?t simply about changed situations, it is about changed attitudes. Today the proximity between leaders and the people surrounding them has much more to do with business and benefits, than with humility and largesse. There was much more give and much less take. Continue reading “The Statesman, and the Photographer”
In the cool interior of a mental ward in Karachi, a short, powerfully built man with a flowing snow-white beard and penetrating dark-brown eyes is standing at the bedside of a distraught young woman. She has covered her head with a sheet and is pleading for news of the two children her husband took from her.
?I know you are suffering terribly, but this is no way to bring back your children,? says the man with stern compassion. ?You have a college degree. You can do many things to help the other patients.? More photos on flickr:Continue reading “Humanitarian to a nation”
Bentleys and Benefits is a unique exhibition at?Rich Mix?capturing the story and social diversity of the East End through the eyes of the young people who live here. The exhibition brings together the outcomes of ?Demystifying Photography?, a series of photography workshops, by?Drik Picture Library, Dhaka in collaboration with?Rich Mix?and?Morpeth School.
Five workshops between October 2014 and June 2015 were conceived to offer the youth of East London an opportunity to work with?Shahidul Alam, founder of?Drik?and world-renowned photographer, writer and activist from Bangladesh, and learn how to use digital technology to capture a memorable image by using key elements of story telling. By exploring emotion and perspective, and studying qualitative shifts between first person and third person narratives,?Alam?introduces the often-neglected sphere of visual literacy.
The photographers, all sixth form students at?Morpeth school, have been working closely with?Alam, to develop their own voice through photography; resulting in an intimate, compassionate and inclusive dialogue shaped by their experiences of life in Bethnal Green. The result is a photographic journey through the financial and social landscape of this extraordinary area of London.
Photographers: Arshad Ali, Fahim Ali, Halima Khanom, Mohammad Nahid Zakaria, Mohammad Zackariyya Ullah, Zayn Ali, Yusuf Saib?(Morpeth school)
Workshop Leader:?Shahidul Alam?(Drik)
Text: Mohammad Zackariyya Ullah (Morpeth school), Mary George (Drik)
Flyer Design: Yusuf Saib?(Morpeth school)
Logo Design: Yusuf Saib?(Morpeth school)
Social Media: Halima Khanom, Mohammad Zackariyya Ullah, Arshad Ali?(Morpeth school)
Fundraising: Zayn Ali, Mohammad Nahid Zakaria (Morpeth school), Mary George (Drik)
Coordinators: Matthew Keil and Sam French (Morpeth school), Mary George (Drik)
Project Management: Saiful Islam (Drik)
Prints proudly supported by?theprintspace.
Absolutely stunning: Jess Worth. New Internationalist Magazine (Oxford)
We had a fabulous opening with moving recitation of Kabita Chakma’s poem “I will defy” by Aungmakhai Chak, Marium Rupa and Rahnuma Ahmed. Many of the warriors were present in person. We were sad to miss Saydia Gulrukh, but her presence was felt.
I will resist, I shall defy Will you do as you please? You turned my home into sand It was a forest where I stand You made daylight go dark Left it barren never a spark I will resist. I shall defy You strip me of my land On my women, your hand No longer shall I see No longer will I be Abandon, neglect, rage A throbbing womb, my stage I curl, I tear asunder Awake, I search, I wander I am who I am And I will resist I shall defy
Poem by Kabita Chakma
Translation by Shahidul Alam
Thanks to Arshad Jamal and Chris Riley for their support and Mohammad Mohsin Miah for helping with the printing. ASM Rezaur Rahman curated the show and the entire teams from Drik’s Publication, Gallery, Photography and Audio Visual Department as well as the volunteers from Pathshala did a wonderful job. We shall resist and we will continue to defy.
5th June ? 5th July 2015 across five venues in Durham, UK
Introductory description from the curator and artistic director, Kooj Chuhan
International artists, researchers, communities and local activists are combining forces using art to push climate change up the agenda in a ground-breaking exhibition titled Footprint Modulation. The exhibition focuses on the massive and increasing impact that climate change will have on humans by forcing us to abandon our homes and migrate. The renowned, award-winning Bangladeshi photographer Shahidul Alam presents work for the first time in the North East. Platform based in London use film and performance to highlight the corruption within global oil. A number of UK-based artists from diverse backgrounds provoke us to connect with human realities in other countries. The New York based architecture and digital art company Diller Scofidio + Renfro present a film commissioned by the Cartier Foundation to artistically re-interpret data about climate migration. Continue reading “Footprint Modulation: art, climate and displacement”
Absolutely stunning: Jess Worth. New Internationalist Magazine (Oxford)
They told me you were quiet. But I felt the rage in your silence. That when you spoke, they rose above themselves. But I felt their fear. That they held you amidst them. But I felt their loneliness. They pointed to the Koroi tree where you would all meet. The banyan tree under which you spoke. Ever so powerfully. They pointed to the mud floor, where you slept. I touched the mat that you had rested upon, and I knew I had found the vessel that must hold your image.
They had tried to erase you, your people, your memory. They had torched your homes and when coercion failed, when you remained defiant, they took you away, in the dead of night.
The leaves burned as the soldiers stood and watched. The same leaves they weave to make your mat. The same leaves I shall burn, to etch your image. Will the burning mat hold your pain? Will the charred leaves hold your anger? Will the image rising from the crisp ashen leaves reignite us? Will you return Kalpana?
For nineteen years I have waited, my unseen sister. For nineteen years they have waited, your warriors. Pahari, Bangali, men, women, young old. Was it what you said? What you stood for? Was it because you could see beyond the land, and language, the shape of one?s eyes and see what it meant to be a citizen of a free nation? For pahari, bangali, bihari, man, woman, hijra, rich, poor, destitute, Hindu, Muslim, Christian, Buddhist, Atheist, Agnostic, Animist.
You had reminded us that a nation that fought oppression, could not rule by oppressing. That a people that fought for a language, could not triumph by suppressing another?s. That the martyrs who died, so we might be free, did not shed their blood, so we could become tyrants. That we who overcame the bullets and bayonets of soldiers, must never again be ruled through the barrel of a gun.
That Kalpana is what binds us. That is why Kalpana, you are not a pahari, or a woman or a chakma or a buddhist, but each one of us. For there can be no freedom that is built on the pain of the other. No friendship that relies on fear. No peace at the muzzle of a gun.
These Kalpana are your warriors. They have engaged in different ways, at different levels, sometimes with different beliefs. Some have stayed with you from the beginning. Others have drifted. They have not always shared political beliefs. But for you Kalpana, my unseen sister, they fight as one.
The process involved in creating these images are rooted to the everyday realities of the hill people, the paharis. Repeatedly, the interviewees talked of the bareness of Kalpana?s home. That there was no furniture, that Kalpana slept on the floor on a straw mat.
Rather than print on conventional photographic media, we decided we would use material that was part of pahari daily lives. The straw mat became our canvas. The fire that had been used to raze pahari homes, also needed to be represented, so a laser beam was used to burn the straw, etching with flames, the images of rebellion.
It was the politics of this interaction that determined the physicality of the process. The laser beam consisted of a binary pulse. A binary present on our politics. In order to render the image, the image had to be converted in various ways. From RGB to Greyscale to Bitmap, from 16 bit to 8 bit to 1 bit. To keep detail in the skin tone despite the high contrast, the red channel needed to be enhanced. The Resolution and intensity and duration of the laser beam needed to be brought down to levels that resulted in the straw being selectively charred but not burnt to cinders.
A screen ruling that separated charred pixels while maintaining gradation had to be carefully selected. And then, working backwards, a lighting mechanism needed to be found that broke up the image into a discrete grid of light and dark tones, providing the contrast, the segmentation and the gradation, necessary to simulate the entire range of tones one expects in a fine print. This combination of lighting, digital rendering, printing technique and choice of medium, has led to the unique one off prints you see in this exhibition. A tribute to a unique woman that had walked among us.