On the night of 5 August,a couple of dozen men turned up at the photographer Shahidul Alam’s house in Dhaka. They dragged him from his apartment, bound and screaming, smashing surveillance cameras on the way out. Alam’s partner, Rahnuma Ahmed, was with a neighbour, so she could not react in time. By the time anyone fully realised what was going on, Alam had been thrown into a white van and driven off into the night’s darkness.
Joy Bangla in those days had not been commandeered by any political party. It was a slogan we all used. Some took it more to heart than others. I was on a rickshaw heading towards mejo chachi’s house, (she is mother of my footballer cousin Kazi Salahuddin, better known by his nickname Turjo). Seeing a friend on the road I shouted out Joy Bangla. Joy Bangla, he waved back. At mejo chachi’s the rickshawala refused to take my fare. “Joy Bangla bolsen na. apnar thon bhara loi kemne” (You said Joy Bangla. How can I take fare from you?). Despite my insistence he wouldn’t budge. The rallying cry belonged to us all. He saw me as a fellow warrior.
On the 16th December, I had gone into a burning military convoy opposite Sakura hotel and took a partially charred Browning light machine gun as a trophy. Almost at the same site where I had seen, nine months ago, people being gunned down as they ran from the flames on the night of the 25th March. They lived in the slums near the Holiday office. Their brutal death part of a statistical count we still argue about.
Years later, I tried to put together a visual chronicle of the war. Collecting photographs from great photographers from far away lands and many local ones who had witnessed our pain, and shared our victory. There were moments of great bravery and greater sacrifice. There were moments of immense pain. The weight of great loss. Rashid Talukder’s image of the dismembered head in Rayerbazar was one of the most striking. Kishor Parekh?s sculpted frames showing, dignity, honour, elation and loss. Raghu Rai?s monumental images of seas of people seeking shelter. Captain Beg’s rare photographs of the mukti bahini during battle. Mohammad Shafi?s striking image of women smuggling grenades in half-submerged baskets. Aftab Ahmed’s image of the final surrender, stoic and significant.
The image that stood out from all the others however, was by Penny Tweedie. Freelancing and without an assignment, Penny had neither the luxury of a client?s budget, nor the assurance of a publishing slot. She did the best she could, getting lifts from fellow photographers, flitting between areas of conflict and stress, she stayed close to ordinary people. People like my rickshawala friend, or the people I saw dying on the night of the 25th March. People who resisted, people who fled, people who sheltered others. People who fed people when they had little food themselves. The image of a woman, carrying a gun walking through a paddy field, with children in tow, was for me the image that encapsulated the war. These were ordinary people who had war thrust upon them. They made do, as best as they could. Bearing their pain with dignity. Fighting with no hope for return. Unlike me, they were not trophy hunters. I doubt if that woman ever made it to a muktijoddha list. I have no way of knowing if she, or her children made it through the war alive. They gave us this nation where we had all hoped we would be free. Continue reading “What Joy Bangla means today”
Dhaka University, Shaheed Minar and CP Gang?s ?bessha? banner
by Rahnuma Ahmed
THIS story begins with the sudden and unexpected death of professor Piash Karim on October 13, 2014, of cardiac arrest. Piash, who had returned to Dhaka in 2007 after teaching for nearly two decades at an American university, had joined BRAC University and was teaching in the department of economics and social sciences. Dr Amena Mohsin, professor of international relations at Dhaka University, and Piash Karim got married in March 2013; high-school student Drabir Karim, Piash?s son from his first marriage, was part of their family. Earlier known in his circle of friends for his left-leaning views, Piash gradually gravitated towards the Bangladesh Nationalist Party, a centrist party and the ruling Awami League?s arch-enemy. He began frequenting television talk shows, popular, as no real debate takes place in the parliament. (The popularity of TV talk shows has drastically declined, however, with the silent black-listing of dissident voices; a couple of analysts have reportedly left the country). His comment that the Ganajagaran Mancha ? initially composed of a small group of bloggers and activists calling for the hanging of war criminals of 1971, later mushrooming into a sea of people at Shahbagh square in Dhaka city and spreading nationwide ? was developing ?fascist? undertones, earned him widespread denunciation. The movement was then riding high. Continue reading “HISTORY AS ETHICAL REMEMBRANCE”
A self-taught photographer with a strong sense of humour Rashid Talukder received a Lifetime Achievement Award at the Chobi Mela international photography festival in Dhaka, in 2006. His images of the war of liberation of Bangladesh and the political events leading up to it, are the most comprehensive visual documentation of Bangladesh’s political history on record. Rashid Talukder handed over his entire collection of negatives to the Drik Picture Library in Dhaka before he passed away.
With support from Drik’s long standing partner, the Prince Claus Fund Drik has been scanning the Talukder archives of over 165,000 original negatives. The archives contain rare images, many of them never previously seen. These include major political events, everyday life and photographs of Bangabandhu Sheikh Mujibur Rahman, the founder of Bangladesh, whom Talukder was especially close to. The photographs show Mujib, not only as a statesman, but also as someone close to his people. There are also private and intimate moments which give insights not only to the public figure, but also to the individual.
While Talukder is virtually unknown outside of Bangladesh, he was one of the foremost chroniclers of the struggle for independence, photographing its origins in the language movement of the 1950s and continuing through the war?s aftermath.
Now hailed as a founding father of Bangladeshi photojournalism, Mr. Talukder made some of the most important images of the war, which by some estimates claimed one million lives and turned 10 million of his countrymen into refugees. He also documented everyday life in Bangladesh during his 46-year career, during which he worked for the newspapers The Daily Sangbad and The Daily Ittefaq. Through an initiative of the new mayor of Dhaka North Annisul Huq, and his council members, a massive outdoor exhibition has been arranged at the iconic parliament building of Bangladesh, designed by Louis Kahn, based largely on the Drik archives. Special access has also been arranged for the general public where even rickshas will be allowed into the parliament complex.
Commemorating the 40th death anniversary of the father of the nation, this provides a rare opportunity for visitors not only to see these previously unseen photographs, but also visit this landmark building, considered one of the architectural masterpieces of the 20th century.
The honourable Prime Minister of Bangladesh, Sheikh Hasina, the daughter of Sheikh Mujibur Rahman, will inaugurate the exhibition today the 13th August 2015 at 5:00 pm.
Another blogger. Ananta Bijoy Das, murdered today. Police too busy beating up students to notice:
———————————————————————————————————- Tolerating Death in a Culture of Intolerance | Economic and Political Weekly. COMMENTARY Economic & Political Weekly EPW MARCH 21, 2015 vol l no 12 11 by?Shahidul Alam The daylight murder of Bangladeshi blogger Avijit Roy in Dhaka on 26 February reflects the culture of fear and intolerance that has built up in the country over the last few decades. As a result, the middle ground between the extremes has disappeared.
Returning home with your wife, from a book fair where you have been signing autographs, seems a peaceful enough activity. It was in the heart of the university area, and it was not late. The footpath next to Ramna Park, where the 1971 surrender document had been signed, was full of people. Shahbagh Police Thana was nearby, and a police barricade designed to keep visitors to the mela safe, was only a few yards away. Hardly the scene crime stories are made of. Continue reading “Tolerating Death in a Culture of Intolerance”
I am starting this project with the hope that people across the globe can help me identify and hopefully trace as many people as possible in these photographs. I shall be regularly uploading images and linking them up with my social media. Please comment, link, tag, share these images and help me locate the people in them. Please also feel free to share insights into the situation, particularly if you happen to have been present.
I would like to complete this by 2021, when I would like to curate a major show to commemorate 50 years of Independence. Please feel free to send me pictures to. Please try to provide as much information as you can about the photograph and the photographer. Ideally we would like all the photographs to be credited.
Thanks for your help.
Here is the first image. It was taken by one of our finest photojournalists, and a dear friend,?Rashid Talukder. The photograph was taken on the 10th January 1972, when Mujib returned to an independent Bangladesh upon his release from captivity in Pakistan. The person dangling from the jeep with the Rollei hanging is another famous Bangladeshi photographer Aftab Ahmed:
UNTIL 1971 Pakistan was made up of two parts: west and east. Both Muslim-dominated territories were born out of India?s bloody partition 24 years earlier, though they existed awkwardly 1,600km apart, divided by hostile Indian territory. Relations between the two halves were always poor. The west dominated: it had the capital, Islamabad, and greater political, economic and military clout. Its more warlike Pashtuns and prosperous Punjabis, among others, looked down on Bengali easterners as passive and backward. Continue reading “The Blood Telegram: Nixon, Kissinger and a Forgotten Genocide.”
Taking a stroll around Madhur Canteen, named after Madhu Sudan Dey, a visitor would come across various spots ? where students of Dhaka University sit in rows, chatting and possibly planning their future. It is a place where the streets widen to make room for creative minds and the walls are covered with political graffiti and posters. Chairman of Workers Party of Bangladesh, Rashed Khan Menon considered it as a parallel school of progressive thought, politics and rational debates, and till date he believes, ?its yard is filled with the leaders of?tomorrow.? Continue reading “THE LEGACY OF MADHU?S CANTEEN”
The black night of March 25, 1971 when the Pakistani occupation forces kicked off one of the worst genocides in history that led to a nine-month war for the independence of Bangladesh in 1971.
On this black night in the nation?s history, the Pakistani military rulers launched ?Operation Searchlight?, killing some thousand people in that night?s crackdown alone.?As part of the operation, tanks rolled out of Dhaka cantonment and a sleeping city woke up to the rattles of gunfire as the Pakistan army attacked the halls at Dhaka University, the then East Pakistan Rifles (now Border Guard Bangladesh) headquarters and Rajarbagh Police Lines, killing the several thousand unarmed Bengalis on the single night. The planned and designated centres of offensive operations under that plan were Dhaka, Khulna, Chittagong, Comilla, Jessore, Rajshahi, Rangpur, Saidpur and Sylhet? areas, where West Pakistani army units were concentrated. Continue reading “BLACK NIGHT 1971 Bangladesh”