Awake, deep in the silence of the night
I dread the sound, I?ll hear your bleat tonight
Your tiny toes tied together with twine
Your tiny body weighed down by people fine
Children circling, some in fright, others in glee
Butcher man with knife, crouching on his knee
You?ll struggle in vain, your bleat a garbled cry
Blood will spurt, red floor, no questions why
Is someone there, another goat, a baby even?
Who wants you, regardless of who goes to heaven
What God needs blood, as evidence of love?
What sacrifice in swapping, money for life above?
A shopping spree, celebrations on TV
What?s one goat less or more for you and me?
It is quiet again, a respite from the heat
The sound remains, I?ll forever hear your bleat
12th September 2016
A report on Pathshala South Asian Media Institute, published by the online news portal bdnews24.com, has come to our attention (?Shahidul Alam?s Pathshala operates without affiliation,? bdnews24.com, 6 August 2016). Unsubstantiated allegations, backbiting and innuendo and the absence of cross checking characterise the ?report.? It is a shoddy piece of journalism. Continue reading “PATHSHALA?S RESPONSE TO BDNEWS24.COM?S REPORT”
We chose not to be photographed. His broad smile was somewhat subdued, though the impishness of his chuckle still remained. The big hug didn?t work out. Even in the generous light through the large open window, a frail Kiarostami with tubes wasn?t how we wanted him depicted. He had cancer, and the surgery had gone wrong. My young friend Mansour Kiaei had accompanied me and had only met the great man for the first time. He wanted to photograph the two of us. We declined, saving the moment, for when Abbas would be better, and more the Abbas, as I had known him.
Continue reading “The Empty Doorway”
OPINION – 11 MAR 2016?BY DANIEL BAUMANN Frieze.com
How a photography course in Dhaka is challenging religious and artistic prejudices
I just got back from the third Dhaka Art Summit (DAS) in?the Bangladeshi capital. DAS is the?brainchild of Nadia and Rajeeb Samdani, a young collector couple based in the city; it?s not a biennial, nor an art fair or a festival, but an?intense four-day summit. For it?s third edition, the Chief Curator of DAS, Mumbai-based Diana Campbell Betancourt, decided not to focus on a particular theme per se but on the South Asia region as a?whole, which in itself is a contradictory concept. (What exactly is South Asia? Is Australia a part of it? Sri Lanka? Iran?) She engaged several curators, including me; I was invited to organize an exhibition for the Samdani Art Award, which is given to a Bangladeshi artist between the ages of 20 and 40. Back in October 2015, I had spent a week in Dhaka meeting the 20 artists who had been shortlisted for this award by Aaron Cezar, director of the London-based Delfina Foundation. From my very first conversation with the artists, I?sensed that?we?were at the beginning of an extremely interesting week.
I learned a lot about Bangladesh ? the local scene, art education, religion and why, for instance, art?works about love do matter. Some artists I met mentioned that their partner was either Hindu or?Muslim and that they could not tell their respective families. As the?week went on, I became increasingly enthusiastic about the obvious sense?of urgency with which all of the nominated artists work: Bangladesh is rapidly changing on all levels, and?these artists are all embracing the challenge to get involved, to have their voices heard and to find appropriate forms of?expression for that.
This seemed particularly true?for many of the photographers on the shortlist. As it turned out, they all came from a single school: Dhaka?s Pathshala South Asian Media Institute. Set up in 1998?by the Bangladeshi photographer, writer, curator and activist Shahidul Alam, this private school has been dedicated to documentary photography and reportage from the beginning. Located in the central Dhanmondi/Panthapath area of Dhaka, it is a small institute for about 90 students who follow the three-year professional programme, and for about 600 students enrolled in the short, one-semester course. Initially funded by international organisations, Pathshala now is entirely supported through tuition fees. (Though relatively modest at?US$460 per semester for the professional programme, inevitably, as in Europe or the US, students are?likely to come from more affluent backgrounds, while there are scholarships allowing five students?per year to study for free.) Continue reading “New Developments: How a photography course in Dhaka is challenging religious and artistic prejudices”
Maybe you have a discovery that will transform the way we live. Are you at a fork in your life as an artist? Have you embraced another medium, has someone given new meaning to your work? Is there a new visual language that will help interpret your world?
Perhaps you are seeing, or hearing for the first time. Maybe you are in love.Perhaps years of research have unearthed hidden wonders in the artistic space you walk on? Have you found a sparring partner, who stretches you to the limits of your potential? Is there a new way of seeing? Does your artistic journey, bring new relevance to the work you produce? Are you ready to emerge, as a butterfly from a chrysalis, momentarily waiting for your wings to dry?
Are you a curator whose interpretation has caused the world to look at a body of work anew? Are you on the other side of the fence, seeing what artists within have forgotten to see?? Are you prepared to take on the complexities of seeing, when doors are closed, minds are locked?? Perhaps space is your forte, and you work with the physicality of a venue, producing site-specific work that is ephemeral in its form, but eternal in its concept. Are you tied down by the shackles that define photography, or are you prepared to take flight, going outside the boundaries, reaching out to the periphery, unearthing the unknown?
Are you the old or the new, or do you not accept such definitions? Does your visual space extend to the non-visual, do you hear, touch, feel through your eyes? Is your photography trapped between the corners of a two dimensional frame, or will new relationships between dimensions be the catapult that releases your art? Do pixels move you? Are you married to grains of silver? Are objects found and unearthed, part of your domain?
Does the white cube encumber you? Do you seek open spaces? In spirit, in mind,in form. Are you able to connect the dots? Are you the artist, the curator, the scientist, the historian, the editor, the journalist, the collector, who will find the magic that will take photography to new heights? Who will tell your story? Share your thoughts, cherish those moments. Who will help you live after you die? Who will hold your hand as you dance naked in the sun, wear bright colours, sing out loud? Are you the storyteller who visualizes a changing planet?
Photographer Rasel Chowdhury Wins Bangladesh’s Top Contemporary Art Award
Documentary photographer?Rasel Chowdhury beat out 300 other applicants to win this year’s?Samdani Art Award. The winner was announced today?at the Dhaka Art Summit,?which is curated by Diana Campbell Betancourt.?It is the largest showcase of South Asian contemporary art in the world.
Bangladesh’s premier art prize is awarded bi-annually to emerging artists between the ages of 22-40 living and working in the country. Chowdhury, who is a contract photographer for the New York Times and Getty,?will enjoy an?all-expenses paid three-month residency at the Delfina Foundation in London in order to work on his craft. Continue reading “Photographer Rasel Chowdhury Wins Bangladesh's Top Contemporary Art Award”
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”
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”