The National Human Rights Commission has written to the defence ministry asking for a Bangladesh Army
explanation for the death of Romel Chakma as a commission investigation has observed that army personnel concerned cannot avoid the responsibility for the death.
Commission chairman Kazi Reazul Hoque told New Age on Friday that a full commission meeting analysed the investigation report and sent a copy of the report to the defence ministry asking for the explanation from the army in the past week.
?We did not get any version from army, so we wrote a letter to the defence ministry based on the recommendation made by the commission probe committee on the issue,? he said.
He said the commission found circumstantial evidences against perpetrators and wanted to know the army?s explanation.
Commission officials said that the commission received the copy of a letter of the defence ministry to the army headquarters seeking their explanation.
The three-member probe body headed by commission member Banchita Chakma, also former Rangamati College principal, submitted the report to the commission on June 11.
Banchita Chakma said that they submitted the report without any version from the army.
She said that the witness accounts suggested that the visually challenged ethnic minority youth was in the custody of the army when he died at Chittagong Medical College Hospital on April 20.
Physicians at the hospital in the medical report observed that Romel Chakma died from kidney infection.
Probe committee members said there were two reasons for kidney infections ? severe internal injuries caused by either torture or major accident.
?We believed Romel was tortured,? said a commission member.
The probe body recorded statements of 15 people including Romel?s family, local police and physicians to examine what happened to the youth but no version from army was available.
The probe concluded that the army in no way could avoid the responsibility for the death of Romel Chakma.
The committee included commission?s deputy director in Rangamati Gazi Md Salahuddin and executive magistrate Tapos Shil from Rangamati district administration.
Committee members said that had approached army zone commander at Nannerchar on May 24 during the inquiry but could got no response.
The field office of army told the probe committee that they would speak if their high ups allowed them to talk.
The probe committee recorded the statement from five police officials who narrated that Romel Chakma was brought to them in a critical condition and that was why the police did not receive him.
The police officials told the committee that Romel did not carry major mark of injuries but he was vomiting and the army personnel carrying him informed police that Romel met an accident.
It takes hardly 10 minutes from the police station to the nearby health complex.
The inquiry found that it took one hour and a half to take Romel Chakma from police station to the health complex. Romel was moved to Chittagong Medical College Hospital where he was admitted under security protection by army personnel.
?We have collected the documents from police station and the hospital,? said a probe body member.
Formed on April 24, the three-member probe body met with Romel?s family and local people at his village Purba Hatimara under Burighat union of Nannerchar on May 1.
On April 6, Romel?s father Binoy Kanti Chakma wrote to the commission chairman demanding justice for the ?inhuman torture? on his son by army personnel.
In a statement issued on April 24, commission Reazul termed it a serious violation of human rights to kill an innocent person in torture.
HSC examinee Romel, 20, was the general secretary of United Peoples? Democratic Front-backed Pahari Chhatra Parishad?s Nannerchar upazila unit.
He was allegedly picked up by local army personnel on April 5 and taken to police station in the evening.
The next morning, police and army personnel admitted him to the Chittagong Medical College Hospital, where he died on April 20.
Romel?s father alleged that they were barred from meeting him at the camp as well as at the hospital.
According to media reports, the Inter Services Public Relations alleged that Romel had masterminded the attack in which two buses were robbed and a truck was set on fire in the area on January 23.
Different rights groups, student bodies and UPDF demanded a judicial inquiry into the death terming the detention and torture unjust.
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.
Reviews: What’s Hot Buzz in Town Artslant Blouinartinfo Events High The Statesman
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.
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.
?I think it is natural to expect the caged bird to be angry at those who imprisoned her. But if she understands that she has been imprisoned and that the cage is not her rightful place, then she has every right to claim the freedom of the skies!” Kalpana Chakma
Eighteen. The legal age to vote.?The age of sexual consent. The threshold of adulthood when one ceases to be a child. Eighteen. The sections of the?Mahabharata. Eighteen armies fighting over eighteen days. Eighteen, the number of years we have waited for justice. Eighteen years that you have been gone Kalpana, my sister. Continue reading “Eighteen”
by Pragyananda Bhikkhu
Translated by Rahnuma Ahmed
Translator’s note: Young Bangladeshi Buddhist monk Pragyananda Bhikkhu, of Ramu Shima Bihar, wrote “Ramu Shohingshota: Fanoosh kono balloon noy”, which was published in Dainik Cox?s Bazar, November 4, 2012 in light of the controversy created over setting afloat fanooshes as part of the celebration of Prabarana Purnima, the second largest Buddhist religious festival; to be noted, this year’s date coincided with the monthly anniversary of the communal attacks ?of September 29, 2012, which destroyed innumerable Buddhist monasteries, temples and homes, allegedly caused by an offensive photograph discovered in the facebook account of Uttam Kumar Barua, a Bengali Buddhist youth, several hours before the attacks occurred. According to press reports, the attacks were visibly incited by local leaders and members of the ruling Awami League (AL), the opposition Bangladesh Nationalist Party (BNP) and the Jamaat-e-Islami; the attackers included those belonging to these political parties, and also, other Muslims, both local inhabitants and outsiders. News reports have highlighted the “inaction” of police officials and the local-level administration. Both ruling AL and the opposition BNP agree that these attacks were “planned” and pre-meditated. The fanoosh controversy, as Pragyananda clearly explains, was the result of administrative interference in religious ceremonies and rituals; the Buddhists of Ramu had decided not to? observe their rites of virtue this year as they were “heartbroken” and grieving over their losses. Relief and rehabilitation (tran) actions taken by the government are satisfactory, but ones concerned with deliverance (poritran) are not, writes Pragynanda, since the issue of delivering justice to Buddhists in Ramu has by all accounts become “mired in the quicksand of [party] politics.” After reading his article, I had requested Pragyananda to elaborate on several things including worship rites regarding fanoosh, he responded to my request in writing, sections of which have been incorporated in this translation. — Rahnuma Ahmed?
ACCORDING TO some, a fanoosh is a light, its resemblance to a dole has led some to call it a dolebaji (large bin for storing rice). But in Buddhist vocabulary, a fanoosh is known as a sky light. Prince Siddartha (later Gautam Buddha) renounced kingdom, kingship, greed, a life of luxury and riches in his quest for freedom from suffering; he left his sangsar on a blessed day in the month of Ashar when it was full moon [purnima]. Continue reading “Ramu violence: A fanoosh is not a balloon”
Poem by Kabita Chakma, translated by Meghna Guhathakurta
Recited today ( 16th November, 2012) at the Hay Festival, Bangla Academy, Dhaka Joli No Udhim Kittei. (Why Shall I not Resist! _?
Why shall I not resist!
Can they do as they please –
Turn settlements into barren land
Dense forests to deserts
Mornings into evening
Fruition to barrenness.
Why shall I not resist
Can they do as they please –
Estrange us from the land of our birth
Enslave our women
Blind our vision
Put an end to creation.
Neglect and humiliation causes anger
the blood surges through my veins
breaking barriers at every stroke,
the fury of youth pierces the sea of consciousness.
I become my own whole self
Why shall I not resist!
In today’s column, I basically deal with three issues, firstly, a brief review of the government’s administrative responses, these suggest that higher-ups have ‘settled’ on making the officer-in-charge of Ramu thana the “fall guy” for the devastating waves of attacks on Buddhist temples, monasteries and houses on September 29; secondly, my examination of the report of the probe committee formed by the home ministry to investigate the occurrences in Ramu inclines me to think that the committee has produced a report according to the home minister’s requirements and guidelines as outlined in his public speeches instead of? investigating impartially as the committee is duty-bound to; third, in order to create appearances of communal harmony post-Ramu, government officials, ruling party members and ideologues, mostly Muslims (plus a few Buddhist quislings), have participated in government-funded Probarona celebrations this year, which has led to the (forceful) de-linking of religious rituals from a set of embodied practices which are a part of the Buddhist tradition; it bespeaks of government interference (hijacking), which again, is unconstitutional (freedom of worship).