Masterclass

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It feels strange to be called a ‘master’ when the ‘students’ are such hugely talented photographers. When it includes the inimitable grandmaster David Burnett in our midst the discomfort is complete.
dr-burnett-600px.jpg ? Jan Grarup
It was a delight to be in his company again. Though I’ve always enjoyed his images, and we’ve been co-jurors of WPP, this was the first time we’d spent so much time together. The poster for the first ever Chobi Mela in 2000, with his iconic image of the Muktibahini, still hangs on Drik’s corridor. Poor Munem Wasif travelled all the way to Amsterdam only to find his bearded tutor again.
sirio_058.jpgsirio_013.jpgsirio_066.jpgsirio_065.jpgsirio_048.jpgsirio_077.jpgsirio_117.jpg ? Sirio Magnabosco
But the pleasure of such company, the energy within those four walls and the sheer joy of seeing such wonderful images, made up for any qualms I might have had. David’s presentation was humbling. It’s candor, its warmth, the enormous breadth of his work and the unquestionable quality of the photography left me breathless.
the-war-we-forgot-1971-600px.jpg ? David Burnett/Contact Press Images. Design Reza/Drik

The WPP awards for Christoph, C?dric and Rafel that came in yesterday, was a welcome bonus, but an expected one. This was photography at its finest and despite the vagaries of judging and the imperfections of any selection process, photography such as this must surely rise to the surface.
Oh to be a student again!
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? C?dric Gerbehaye, Belgium, Agence Vu. Congo in Limbo. General News, 3rd Prize Stories. WPP contest 2007
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rafel-2t.jpgrafel-3t.jpgrafel-6t.jpgrafel-4t.jpgrafel-5t.jpg

? Rafal Milach, Poland, Anzenberger Agency. Retired circus artists, Poland. Arts and Entertainment, 1st Prize Stories. WPP contest 2007

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? Christoph Bangert, Germany, Laif. German Army sniper practice target, Kunduz, Afghanistan, 27 April. General News Singles, Honourable Mention. WPP contest 2007
Joop Swart Masterclass 2007:
Masters:
Shahidul Alam
Susan Bright
David Burnett
Ayperi Ecer
Jan Grarup
Barbara Stauss
Brian Storm
Students:
Ghaith Abdul-Ahad
Olivia Arthur
Christoph Bangert
Kate Brooks
Alexandra Demenkova: Sasha
Agnes Dherbeys
C?dric Gerbehaye
Sirio Magnabosco
Rafal Milach
Munem Wasif
Irina Werning
Xin Zhou

Changing the Face of Photography

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Pathshala, The South Asian Institute of Photography celebrates its 10th anniversary
Elita Karim
Star Weekend Magazine Volume 7 Issue 5 February 8 2008
dswm1.jpg ?D. M. Shibly
Members of the Pathshala family have a lot to celebrate. ?My son had once written an essay in class, where he wrote that his mother is a photographer,? says Munira Morshed Munni, freelance photographer, photo editor at Drik News and teacher at Pathshala. She is also one of the first students of Pathshala, and has been with the school for the last ten years. ?His teacher, upon reading the line, immediately cut it out, assuming it to be a mistake made by the child. Later on, I had to go speak to her and explain that I really am a photographer and also make a living out of it. She was dumbstruck for a while.? You can’t blame the teacher, adds Munni. It is still very difficult for the society to accept this art-form as anything but a hobby, a side interest or a skill that is more or less limited to documenting wedding receptions or capturing nice images. Most people are unaware of the detailed calculations made by the seasoned photographer, of the possible number of angles that can be used for one shot, or the analysis of composition, frame and subject in the blink of an eye.
dswm4.jpg Left to Right ? Saikot Majumder, Sazzad Ibne Syed, Abir Abdullah
Pathshala, The South Asian Institute of Photography, located on Panthapath, has played a pivotal role in the last decade, in changing the social attitude towards photography as a profession. Offering basic and advanced levels courses in this field, the institution also offers diploma and Bachelor equivalent courses to students. Very soon, a Master’s level programme will also begin in collaboration with the University of Liberal Arts. The school is also a part of the upcoming regional Master’s programme between universities in Bangladesh, China, Indonesia, Nepal, Norway and Pakistan.
Back in 1998, Pathshala had begun as a part of a three-year World Press Photo educational initiative in 1998. As the name Pathshala symbolises the ancient education system held in the open air, under the shade of a tree, free from the confining walls of a classroom, the institute emphasised on not merely conventional teaching the students. It allowed students to ask questions and develop their own style and perspective. The school was designed in a way that leads students to experience knowledge beyond the confines of the discipline.
dswm5.jpg Dr. Shahidul Alam speaking on the institute’s anniversary ? D. M. Shibly
According to Shahidul Alam, the Principal of the school and MD of Drik, Pathshala strives to do much more than teach photography. ?It is about using the language of images to bring about social change. It is about nurturing minds and encouraging critical thinking. It is about responsible citizenship. In a land where textual literacy is low, it is about reaching out where words have failed. In a society where sleek advertising images construct our sense of values, studying at Pathshala is about challenging cultures of dominance.? Dr. Shahidul Alam speaking on the institute’s anniversary. According to Alam, in the South Asian region, the need for a structured education in photography has always been felt. Since photography plays a significant role in the mainstream media, this need is mostly felt in the field of photojournalism. ?The people’s right to information is generally not recognised by the official media in many countries,? he says. ?This is clearly also true for the SAARC (South Asian Association for Regional Co-operation) nations. The lack of sufficient professional skills in the media, especially in the field of photojournalism, has also allowed successive governments to pass on propaganda in place of news, and the people’s role in governance has been totally ignored.? Interestingly enough, most students, who go to this school, are studying subjects like Engineering, Medicine, BBA at other universities to comply with the conventional social mindsets. There are some, however, who end up choosing between passion and tradition, hence letting go of the so-called educational system approved by society. One such student is Azizur Rahman Peu, editor of Drik News, teacher at Pathshala and also one of the first students to have entered the school ten years ago. ?I was studying medicine in Rongpur,?he says, ?when I practically ran away from home to Dhaka. I wanted to be a journalist. Back then, I didn’t know how one would define a journalist. I used to think that a photographer was, obviously, what described a journalist, capturing and documenting moments in history. My love for photography, eventually, led me to start studying here at Pathshala.? Pathshala’s certificate awarding ceremony. Blaming not only the social net, but also the media in Bangladesh, students claim that even inside newsrooms, photographers are not given their worth. A photograph tells a story as well, which should complement the journalist’s written work, rather than act as a side support. ?Newsrooms have news editors,? says Shahidul Alam. ?However, the concept of a photo editor is not seen in newspaper offices here.? According to Alam, it was the Independent in the UK which had practically revolutionised the way photographs were used in newspapers, hence breaking the system. ?Other newspapers like the Guardian had to eventually accept this idea as well.? Pathshala also has regular academic exchanges between Oslo University College in Norway and Edith Cowan University (ECU) in Australia. It is not really an exchange programme, since students from these countries come to Bangladesh to learn about photography and not the other way around, adds Alam. However, this provides Pathshala students an opportunity to share experiences with students of very different backgrounds. ?The long-term partnerships with Sunderland University, Bolton University and the Danish School of Journalism, offer educational opportunities for students with other world class institutions. The internship opportunities at Drik, Chobi Mela and Drik News offer on-the-job training that is invaluable in professional life. The regular participation in international festivals and workshops provide a world-view essential to becoming established in the global marketplace. And then there is the acid test. Emerging students are in demand, and ever since Pathshala started, all students who have graduated are gainfully employed. Some are already at the very top of their profession,? says Alam. Celebrating a decade with fireworks. Norman Leslie, the programme director from ECU, says that his students have had the chance to experience life in all its reality and colours through this exchange programme. ?ECU is located in Perth, which is a city extremely isolated even in Australian terms,? says Norman. ?Students from this university, besides having the advantages of international exposure through this programme, have also created a certain bond between the two cultures which is extremely important when it comes to the art of photography.? Even though passionate about art and photography from an early age, Shahidul Alam had decided to take up photography as a profession by accident. Back in the 80s, Alam was doing his PhD in Chemistry in the United Kingdom. As was the norm and still is in the society, studying a proper subject define the integrity and depth of being a true man. ?And that is what my parents believed as well,? says Alam. ?I did not have much money and would work to pay my tuitions.? One of his close friends got into the airlines business and asked him to fly to the United States with him. ?A poor student like me would never get this opportunity ever again and so I decided to go. My friend in the UK asked me to bring him back a camera since cameras were cheaper in the US.? Alam got a full set complete with a tripod and lens and got back to the UK, only to find that his friend did not have the money to pay him back. ?And I was stuck with it!? laughs Alam. Pathshala recently entered its tenth year. Celebrating the school’s anniversary, a three day festival was organised where both the old and the new students presented their works, amidst other festivities.
dswm6.jpg Pathshala’s certificate awarding ceremony ? D. M. Shibly
A photography exhibition titled ?Studying Life? began marked the beginning of the festival on February 1 at the Drik Gallery. Exhibiting works by some of the most celebrated students of the school, this event was inaugurated by Atiqul Huque Chowdhury and Dr. Shahidul Alam. The exhibition, which will continue up to February 15, features thirty six photographers, including Munem Wasif, Abir Abdullah, GMB Akash, Tanvir Ahmed and many more. On February 2, certificates were distributed to the students who had finished their respective courses, starting from the basic to the undergraduate level. ?We had a full-fledged festival, complete with a winter Pitha Utshob,? says Joseph Rozario, the Administrative Manager of Pathshala. ?Students, teachers, along with a few photographers from outside the country had discussions on photography. These photographers also presented some of their unique works. The day ended with a film made by one of our own students,? he says.
dswm7.jpg Celebrating a decade with fireworks ?D. M. Shibly
The last day of the festival, February 3, was an ?absolute blast,? according to Din M Shibly, a Pathshala graduate who now teaches at the school and works for the monthly magazine Ice Today. The highlight of the day was when Prachyanat, the musical theatre group, performed at the school, much to the delight of the students and also a number of guests who had turned up at the celebrations. The notion that photography cannot be a proper career no longer holds true. Many students from Pathshala are working in the media, both local and international. Tanveer Ahmed, student of Pathshala who now works at Drik News, recently had one of his photographs published in the Time magazine as the picture of the year. The photograph shows a grandfather carrying the dead body of his grandchild after being hit by the Sidr cyclone last year. Many other Pathshala students have won international awards. Alam says that young people believe that there is more glamour and less money in this profession. ?It is actually the other way around,? he explains. He plans to work more on visual literacy, hold workshops in schools and develop this field as an academic subject in the educational institutions in Bangladesh. Photography is much more than capturing a mere image. It is what one captures within the image; emotions, environment, thoughts, social perceptions and so on. One simply has to look into a photograph to discover these elements, rather than looking at it. As actor and author Sir Dirk Bogarde had put, ?The camera can photograph thought.?

Pukur (Pare) Churi

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Their fear of items being stolen, or not being returned, was considered preposterous. When the Honorable Adviser and his excellency the Charge d’Affaires had themselves, guaranteed the safety of Bangladesh’s most prized artefacts, surely the protesters could have no reason to oppose this arrangement. News of the missing crate, and the priceless statues it contained, had been suppressed, but the information leaked out. Could the guarantors please explain?
Mr. Jean Romnicianu, Charges d’Affaires, Ambassade de France ? Dacca, met with Bangladeshi journalists at the French Embassy in the first week of December 2007. In response to questions about the possibility of goods being damaged, stolen, or not being returned, he stated emphatically, “What I am saying is that for at least 30 years, it has never, not once, happened within the framework of an international exhibition. This is an international exhibition with a signed agreement between governments, there is no scope whatsoever of that kind of thing.” “We will take care of the artefacts, until they are returned to the museum. All the insurance and everything is what is called nail to nail,” elaborating that it implied protection from the moment the artefacts left their original position in the museum, to the time it was returned to their original position.
guimet-nail-to-nail.mp3
Today we hear him on television saying “The responsibility of the French Goverment begins from the point where the items are in French cargo.”
“We are not going to put the artefacts at risk by unpacking them,” was also something the Charge d’Affaires had said that day. Today (Dec 24th 2007), the BBC quoted that the remaining crates had all been checked at the airport. So airport officials who have no knowledge of archaeology are permitted to open the crates, while neither members of the expert committee nor the people who are legally required to inspect the artefacts, are allowed to do so. These officials had also signed documents stating they had verified the contents of the crates, which they had obviously not been allowed to do, even though it made the documents presented, technically false.
“The Museee Guimet and our authorities in France have worked rather hard, I must say, even though it resulted in one mistake, in keeping all the controversies outside of the French papers, of the European papers,” the Charge d’Affaires had also said that day. So the cover up was taking place at both the Bangladeshi and the French end. Presumably it continues.
french-statement-on-media-blockage.mp3
(Audio recordings of these statements are available and will be uploaded as soon as they have been digitised)
——–
air-france-0978.jpg The plane that was meant to have taken the artefacts to Paris. ? Munir uz Zaman/DrikNews
searching-in-the-fields.jpg From Pukur Churi (stealing a pond) to Pukur Pare Churi (stealing by a pond). Search party looking for stolen artefacts by the pond at Zia International Airport. ? Munir uz Zaman/DrikNews
empty-crate.jpg The empty crate. We had been told these were special crates that could not be opened, as they were very special. A 300 year old French company had been especially commissioned to pack the crates. The government and the French embassy decided to show improper documents rather than risk opening these special crates for proper inspection and documentation. Looks like a pretty ordinary crate to me. ? Munir uz Zaman/DrikNews
media-on-alert-0905.jpg This was a story the state owned BTV had chosen to completely ignore. The rest of the media however, despite government efforts continued to report this important story. Despite the widespread protests and the media attention, the shipment was to go ahead. Both the Cultural Adviser and the French Charge d’Affaires, emphatically promised there was no question of items going missing or not being returned. ? Munir uz Zaman/DrikNews
b035.mp3 Interview of police officer after discovery of crate (Bangla). Munir uz Zaman/DrikNews
arrested-security-officer.jpg One of the arrested security officers. What of the big fish that masterminded this theft? Or the people who authorised this shipment despite the proven irregularities? ? Munir uz Zaman/DrikNews
press-conference-0605.jpg Press conference at Chitrak Gallery, where the incident has been called the most major cultural disaster of the century. ? Shahidul Alam/Drik/Majority World
——–
It was the letter from Shanika, the girl I had found during the Tsunami in Sri Lanka, that reminded me of how we had forgotten all the other things that were going on. It was now Boxing Day. The Day the Tsunami had struck. Bodies are still being discovered after the Sidr cyclone. Demand for the trial of war criminals has moved off the headlines. Bodies of workers remain buried in the Rangs building rubble. It reminds me of how classed our struggles are. While we had united in protest when our archaeological heritage was being threatened, no such protest had taken place in solidarity with the workers.
wedding-car-outside-museum-0629.jpg It was Christmas day, and it is the wedding season in Bangladesh. People had gathered outside the musuem, as word had spread that the remaining artefacts were being returned. It was a very different mood, and the local flower shop was using the wide road to decorate a wedding car. ? Shahidul Alam/Drik/Majority World
media-outside-museum-watching-return-of-artefacts-1329.jpg Media professionals outside museum gate watching the return of remaining 12 crates. ? Munir uz Zaman/DrikNews
homebound-returning-artefacts-to-museum-0644.jpg Homebound heading home. The crates are now back in the museum. The demand for reinstating them in their original location continues. ? Shahidul Alam/Drik/Majority World
nisar-at-atn-0640.jpg It was the vigilance of Nisar Hossain (teacher at the college of fine arts, affectionately dubbed, ‘Sector Commander’ by fellow campaigners) and his friends that led to many of the irregularities being unearthed. Nisar being interviewed on the ATN channel. ? Shahidul Alam/Drik/Majority World
munni-interviewing-nisar-0639.jpg The media played an important role in keeping the issue in the public eye. Munni Saha interviewing Nisar Hossain for a programme in the ATN channel. The discussions included a clear condemnation of the French Charge d’Affaires’ statement blaming the protestors for the theft. The programme will air at 11:00 am Dhaka time on the 26th December 2007. ? Shahidul Alam/Drik/Majority World
shanikas-letter-0645.jpg Letter from Shanika, received earlier in the month.
shanika-and-shahidul-0198.jpg During an assignment for Help The Aged in Sri Lanka last month, I had sneaked a visit to Totagumuwa, in Hikkaduwa to see Shanika. The Tsunami had taken away her mother and her three sisters (including her twin sister). Photo: ? Priantha (Shanika’s dad).
——-
27th December 2007
Sylvie Rebbot, the picture editor of Geo Magazine in France, just sent me this press release last night. It was issued yesterday (the 26th December 2007) by the French Ministry of Culture. While it talks about the theft of the two statues, from Zia International Airport, there is no mention of the 10 crates that are already in Paris at the Guimet Museum.
Press Release by French Ministry of Culture (26th Dec 2007)
261207-cp-expo-musee-guimet.pdf

A Flag Fails to Flutter

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It was a bad day for cows
meat-outside-museum-0511.jpg Korbani meat being distributed outside National Museum during Eid. 21st December 2007. ? Shahidul Alam/Drik/Majority World
But the Bangladesh government had a supreme sacrifice in mind. When the most prized of your possessions needed to be sacrificed, and when the gods have changed to western powers, the four-legged creatures simply wouldn't do. The nation's most prized archaeological possessions were therefore bundled away in Homebound chariots to distant museums. The door to heaven's gate might not have opened, but a Schengen visa and perhaps a few trips to Paris for some, had surely been assured.
It was well timed. The Eid holidays meant there would be no newspapers for two days. Most reporters would be away. The streets of Dhaka would be empty. Holidays meant there was no rush. No pesky public to worry about at opening hours. Still one needed to be sure. Bus no Dhaka Jo 11 1767, was on standby with riot police. The police jeep Dhaka Jo 11 4364 followed behind. Then the media that got in the way. With so many Eid events to cover, why had they gathered round the national museum? The sanctity of sacrifice should surely have been respected. Reinforcements in the form of another busload of riot police came in via bus number Dhaka Jo 14 1799.
balloon-man-0516.jpg Balloon man outside National Museum. Friday 21st December 2007. ? Shahidul Alam/Drik/Majority World
eid-passengers-0532.jpg Family out on Eid. Friday 21st December 2007. ? Shahidul Alam/Drik/Majority World
aisha-0504.jpg Aisha outside National Museum. ? Shahidul Alam/Drik/Majority World
museum-closure-0500.jpg Sign says the museum is closed from the 20th till the 22nd on account of Eid. Friday 21st December 2007. ? Shahidul Alam/Drik/Majority World
Aisha had come with her parents to visit the museum. Like many others they were turned away. The museum was closed, at least to the public. The Eid holidays of museum officials had however been cancelled. The shippers were working overtime.
dgfi-0498.jpgriot-police-on-standby-0556.jpgriot-police-leaving-museum-0573.jpg Police returning to station, after staging the 'escape'. ? Shahidul Alam/Drik/Majority World
Police and plainclothes intelligence officials were present in abundance, their riot gear jarring with the bright new clothes of Dhakaites. Then it took another turn. Spitting and booing had failed to stop the Homebound trucks earlier. This time the protesters changed tack. Chains were put on the gate of the national museum. Visions of the Chipko Resistance
protester-chaining-museum-gate-0536-d.jpg Protester chaining front gate of National Museum. Friday 21st December 2007. ? Shahidul Alam/Drik/Majority World
police-breaking-museum-lock-8277.jpg Police breaking padlock at front gate of National Museum. Friday 21st December 2007. ? Gazi Nafis Ahmed/DrikNews
burning-shirt-in-protest-0775.jpg Burning shirt in protest outside National Musuem. Friday 21st December 2007. ? Munir uz Zaman/DrikNews
media-0526.jpg Despite emergency rule and government efforts to bury the story, media continued to give the event full coverage. ? Shahidul Alam/Drik/Majority World
sprang to mind. In place of burglars breaking in, the comic view of government officials breaking their way out of the national museum to escape with museum valuables would have brought laughter in a trirotno drama (popular Bangladeshi sitcom). In the theatre of Bangladeshi governance, it was yet another tragedy.
"The benefits, for both countries, are cultural: it is a win-win situation where France gains a better knowledge of Bangladeshi heritage and Bangladesh gains a better image on the international cultural scene," the French embassy handout had clarified.
The partially demolished Rangs building continues to be a grave for the buried Bangladeshi workers far down the priority chain. Presumably, that is a 'Bangladeshi heritage' the Parisians will not get to see.
The last time round, they had been playing one of my favourite Bhupen Hajarika songs. This time there was no music, and no one was smiling. Even the Bangladeshi flag failed to flutter on this Eid day. Video of trucks carrying artefacs out of museum. ? Shahidul Alam/Drik/Majority World
unfluttering-flag-0531.jpgembed> Bangladeshi flag refuses to flutter as prized Bangladeshi objects are taken out of museum. ? Shahidul Alam/Drik/Majority World





Video of trucks carrying artefacs out of museum.

The Price of Peace

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I am the rage I am the storm
My path I leave barren and shorn
Swaying in my crazy dance
I rejoice at all I face
Move at my own pace
I grapple my foe
I wrestle to die
I am the warrior, head held high*
He was a dreamer, a rebel, a lover, a poet. He moved strong men to tears and woke a nation to unite against tyranny. The British imprisoned him only to find his pen spewing venom from the prison cell. Yet, Kazi Nazrul Islam was a romantic, and his lilting songs, magical stories and even his fiery verse did more to bring together Muslims and Hindus than any peacemaker had ever done. The poor turned away from God?s door, the lover spurned, the weak, the meek, the downtrodden, all found refuge in his words and his music. Unlike the literary giant of the time – Tagore, Nazrul was uncompromising. He spoke of strife, and the peace of acquiescence was never his mettle. Mixing Persian, English and Hindi with his majestic repertoire in his native language Bangla, Nazrul called a nation to war against its occupiers, but also spoke out against the tyranny of religion and class. It was his haunting love songs however, that made Nazrul inimitable. Living the life he preached, he refused to conform. Marrying outside religion, shunning material comfort, and eventually rejecting our carefully defined sanity, he rebelled against a peace that required the acceptance of the status quo. Conflict was his muse.
Lalon, long before him, had traversed a very different terrain. The journey between the body and the soul. The metaphors of the bird and the cage, with the soul flirting with the body, elusive. tantalizing and ever so ephemeral. The sufi saint dealt with the conflict between the material world and the spiritual realm. But for Bangladeshis it wasn?t Tagore or Lalon or even Nazrul, but the struggle for language itself that galvanized the nation. Separated from India on the basis of religion when the British were forced to leave, East Pakistanis had always felt exploited by the West wing and discontent had been brewing, but it was when Jinnah declared that Urdu would be the national language of Pakistan that people took to the streets. The violent birth of Bangladesh, gave a nation with its own language, but Bangali nationalism too became the oppressor of other cultures and the indigenous people of the Hill Tracts have been brutally reminded ever since that they are the other. Their peace could only be earned at the cost of their identity.
Surendra Lal Dewan, was sad that his song had been stolen by the president, but that was not what pained him most. As director of the Tribal Centre in Rangamati, he was required to bring out Pahari women dressed in ethnic garb at regular intervals. They would dance in bright tribal costumes for tourists, visiting dignitaries and even curious Bangalis whenever the state needed to demonstrate Bangladesh?s tolerance and its ethnic diversity. In his song Dewan had spoken of a Bangladesh free of oppression and torture. That a military general, claiming the song to be his own, would use the same words to chant of an egalitarian Bangladesh pierced Surendra with his own words.
Even the naked halogen lamp that shone on the creaky planks that made up the stage near Ispahani Gate 1 had gone. It was the port town of Chittagong and there was no electricity. It didn?t affect Mustafa Kamal and the UTSA theatre group. A string of candles lit up the actors. The children came up close. Kamal wasn?t involved in national issues. He and his group performed to children and their parents, in the slums around Gate 1, and in many other parts of the country. The plays would talk of HIV/AIDS, dowry and land rights. The team would go out to villages and settle land disputes, or fights over someone?s loss of face, by getting the villagers to enact their strife in public. Their participatory plays used humour, love and the occasional risqu? dialogue to enthrall a rapt audience who found a momentary outlet from their tortured lives. But the plays were not simply about temporary relief. They introduced strategies for dealing with the tensions that built up between the landed and the landless, between the buyer and the seller, but also between friends, relatives and neighours. Kamal understood that conflict was a natural product of relationships. While controversies and grievances resulting from differences in values, competition for resources, or perceived threats, often result in conflict, its mitigation rarely depends entirely upon the solution of the problem, but might only require a release through rituals of protest.
Artificial barriers between nations, illegal occupation of lands, the struggle between the worker and the employer, the exploitation of women and children, and the suppression of minorities generate sparks that might set ablaze communities, and the fires needed to be doused. But there was more to art than being the key to the cage. Kamal worried that while his art might allay the tension, it might, through appeasement – like the empty rhetoric of politicians, like the opium fed to the hungry child, like the comfort assured in afterlife, like the promises of peace by generals – help perpetuate the greater wrong.
Shahidul Alam
Los Angeles
24th May 2007
* Translated and adapted from the poem ?The Rebel? by Kazi Nazrul Islam
Abridged from an essay written for the Prince Claus Fund for the 2007 Award Book on the theme ?Culture and Conflict?.

Kazi Nazrul Islam
(b. May 25, 1899 ? d. August 29, 1976 ) was a Bengali poet, musician, revolutionary and philosopher who is best known for pioneering works of Bengali poetry. He is popularly known as the Bidrohi Kobi ? Rebel Poet ? as many of his works showcase an intense rebellion against oppression of humans through slavery, hatred and tradition. He is officially recognised as the national poet of Bangladesh and commemorated in India.
The birth date of Kazi Nazrul Islam, originally recorded on the basis of the Bangla calendar, is considered by some to be the 24th May 1899.

Judge on the docks

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?Come out we won’t shoot?, they had yelled out over the megaphone. Not the most alluring of invitations, particularly when it is from a police van surrounding your flat at midnight. They had thought we were hiding someone and after searching our rooftop had come into our flat. As they left, I had gone out to take pictures from our verandah. Rahnuma had turned up the television volume to hide the sound of the shutter on my Nikon 501, but it still seemed to make a very loud click. Luckily, I wasn?t noticed. It was the 2nd December 1990. Ershad?s autocratic government was feeling the heat. inside-baitul-mukarram-mosque-f7-118-frame-no-24.jpg
Two days earlier, after the Friday prayers, they had opened fire on the Baitul Mukarram mosque killing a man.
Lawyers had played an important role in our democracy movement. They had upheld writ petitions against the government, and when the government tried to flex its muscles, they came out in protest, united in their stand.
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On this day, exactly sixteen years ago, barrister Shahjahan, Sarah Hossain and other lawyers were meant to meet at Drik. We were monitoring the government action, and were ourselves under scrutiny. My colleagues had warned me that plain clothed detectives were looking for me at the office. The detectives seemed to know we lived in Lalmatia, and my colleagues suggested that we stay elsewhere that night. Ma (Rahnuma?s mum), Rahnuma, Tehmina (a lawyer friend of ours) and I went over to Saif and Rini?s flat in Dhanmondi Rd 8. This was not the time for taking chances. The media too had played their role. When censorship became intolerable, they refused to publish. It was that night that Ershad had announced on television that he was going to step down. People were rejoicing in the streets. The following morning the first newspaper was out.
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We all went out into the streets. Altaf on his motorbike, me on my bicycle, and the others in whatever transport they could find.
child-with-father-after-fall-of-ershad-copy.jpg
A little girl walked down Mirpur road with a bouquet of flowers in her hand. She too was celebrating the return of democracy. People were dancing in the streets. In Paltan, too often the scene of violence, people gathered in ones and twos.
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Men and women in their sleeping clothes, some with children, gathered in the winter night. Chatpati wallas sensing a business opportunity appeared out of the fog. At about 1:30 am Shimul Billa, Bangladesh’s Shirley Temple, sang out ?Bichar poti tomar bichar korbe jara, aj jegeche ei jonota?.
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The song ?O judge, the people have risen, it is now the day of your judgement?, was strangely prophetic.
And now in 2006, the chief justice of the supreme court intervenes to prevent a decision
going against a political party, lawyers ransack the court, a president with zero credibility heads a caretaker government, and of all people, Ershad himself is in the streets, demanding the removal of the current president, while Moudud, the chameleon survivor, then Ershad’s right hand man, now holds hands with the chief justice.
4th December 2006
Delhi

Taking care of the caretaker

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It was a dramatic ending to Robert Pledge?s presentation. Via Topu and Omi, I?d received the news that the military had been called out. Robert wanted to finish the presentation, but once I?d announced the government?s decision, the auditorium of the Goethe Institut quickly emptied out. This particular Chobi Mela IV presentation had come to an abrupt end. It was 1987 revisited.

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Noor Hossain had painted on his back ?Let Democracy be Freed? and the police had gunned him down on the 10th November 1987. But the people had taken to the streets and while we were scared the military would come out, there was no stopping us. It had taken three more years of street protests, before the general was forced to step down. The people had won. But then it had been a military general who was ruling the country. This was a civilian caretaker government. The general mistrust of a party in power, had resulted in this unique process in Bangladesh where an interim neutral caretaker government headed by a Chief Adviser (generally the most recently retired Chief Justice) and consisting of other neutral but respected members of the public were entrusted with conducting the elections. Why then the military? Yes, the president was a Bangladesh Nationalist Party (BNP, the largest party in the outgoing coalition government) appointee, there are ten advisors who are meant to be neutral.

A free and fair election hasn?t yielded the electoral democracy we had hoped for. After each term, the people have voted out the party in power, only to be rebuffed by a political system that has never had the interest of the people on their agenda. Still, the elections were held, and despite the fact that there had been one rigged election in 1996 (rejected and held again under a neutral caretaker government), an electoral process of democratisation, was slowly developing.

This time however, the total disregard for the electoral process has created a sham, and the three key people in this electoral process, the president, the chief adviser, and the chief election commissioner (CEC), are colluding against the people. The first two, being represented by the same person, was a BNP appointee. He also happens to be the head of the military. The CEC, now a cartoon character, had also been appointed by the BNP while it was in power. Coupled with a clearly flawed voters list, this has removed any hope of a free and fair election. Can the caretaker government genuinely conduct a fair election? I believe it still can, if given the chance, despite the president?s lack of credibility. But for that to happen, the military, the bureaucracy and the police need to remember that it is with the people that their allegiance lies.

However, it does depend upon the removal of the other obstacles. The election commissioner cannot constitutionally be removed, and his removal is central to the opposition demands. What then can we do? There is only one body higher than the constitution, the people themselves. The advisors need to be empowered if they are to pull off this election. Sandwiched between a partisan executive head and another partisan CEC, the advisers risk becoming irrelevant. The only way this can be checked is if people come out in droves. Not ?hired for the day? supporters but ordinary people committed to civilian rule, and a multi-party system.

It is we the people who need to take to the streets. And it is time we sent out the message to all political parties, that an entire nation cannot be appropriated. They need to be told that we did not liberate our country in vain, and despite the poverty and the hardship that we go through, we will not be cowed down, and will not blindly tow a party line, when the party itself has disengaged from the people. If tomorrow, every woman man and child takes to the street of Bangladesh, there is no power, not the military, not the president, not the advisers, not the CEC, not the BNP and not AL that can stop us.

There is hope yet. The advisers have had the good sense to reverse the home ministry?s unilateral decision to call out the army and the president and chief adviser has been challenged for taking such a step. Whether the advisers can continue to take such bold steps depends on our ability to bolster their nebulous position.

Blockades and hartals do hurt the economy, and ironically, it is the person in the street who is the most vulnerable. But faced with an attempt to take away the only chance she has to exercise her right to elect the government of her choice, she has little option left but to take to the streets. As the world is finding out, in Iraq, in Afghanistan, and wherever else there is conflict, a military victory is never a victory. If the anger of the people is to be quelled, then the underlying causes of discontent need to be solved. Flexing the muscles of the military, will only put a lid on the boiling pot, and the longer the lid is pressed down, the bigger will be the eventual explosion. More have died today, and with every death, the flashpoint looms closer.

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Chobi Mela IV has continued despite it all. The dancing in the all night boat party,

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the heated arguments at every meeting point, the mobile exhibitions, all went on despite the turmoil. The presentations on the night of the 11th, with Yumi Goto, showing work by the children from Bandar Aceh, Neo Ntsoma showing her work on youth culture in South Africa, Chris Rainier showing his long term projects on ?Ancient Marks?, and the deeply personal, but very different accounts of Trent Parke

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and Pablo Bartholomew, made one of the most intriguing evenings I can remember. The packed audience that had braved the blockade had perhaps an inkling of what was to come. Morten had a full house for his ?gallery walk? at the Alliance Francaise and Trent?s workshops were packed out. The grand opening was at the National Museum, where we had one fifth of the cabinet opening the show. Kollol gave a passionate rendering of his song ?Boundaries? written especially for the festival. The rickshaw vans designed to take the festival to the public, plied the streets of Old Dhaka, Mirpur and other areas not used to gallery crowds.

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The chief guest, adviser C.M. Shafi Sami, the special guests adviser Sultana Kamal and Robert Pledge, photographers Morten Krogvold and Trent Parke and the scholarship recepient Dolly Akhter all spoke eloquently. Little did the audience know about the drama that had taken place the night before. With the museum functionaries doing their best to keep us from putting up the Contact Press Images show (http://www.chobimela.org/contact_press_images.php), we were under pressure, but working all through the night and sleeping on the museum floor, we managed to put the show up on time.

Last night, the empty streets, looked ominous as I dropped off Chulie, Robert and Yang, and people have been dying in the streets.

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Since then we have had Morten Krogvold?s passionate presentation at the gallery walk at Alliance, Rupert Grey?s clinical dissection of the law and his dry British humour,

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both at the British Council and the Goethe Institut, Saiful Huq Omi?s disturbing but powerful images of political violence, Cristobal Trejo?s poetic rendering of an unseen world, Richard Atrero De Guzman?s honest response to difficult questions about representation and my own presentation on natural disasters and their social impact have all been well attended, despite the tension in the desolate Dhaka streets. The evening presentations close tonight with an insightful film by Indian film maker Joshy Joseph, presentations by Norman Leslie and a behind the scenes look by the photographers at the Drik Photo Department, Md. Main Uddin, Shehab Uddin and Amin, Chandan Robert Rebeiro, Imtiaz Mahabub Mumit and Shumon of Pathshala and Mexican exhibitor Cristobal Trejo. The shows go on as they always do at Drik.

In 1991, a woman with her vote had avenged Noor Hossain’s death.

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A fortnight ago, the city was in flames, and a stubborn chief election commissioner is stoking the flames again. It is a fire he and his allies will be powerless to stop.
Shahidul Alam
Dhaka
Chobi Mela site
Blog by Australian curator Bec Dean
Short video on Chobi Mela IV


Boundaries

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Chobi Mela IV

She packed her load of firewood onto the crowded train in Pangsha. The morning sun peered through the lazy winter haze. The vendors called ?chai garam, boildeem? and the train slowly chugged out of the station, people still clambering on board, or finishing last minute transactions. Some saying farewell. The scene had probably not been very different a hundred years ago. Maybe then, they carried pan in place of firewood, or some other commodity that people at the other end needed. She would come back the same day, bringing back what was needed here. Only today she was a smuggler. The artificial and somewhat random lines drawn by a British lawyer had made her an outlaw. She was crossing boundaries. There were other boundaries to cross. The job a woman was allowed to do, the class signs on the coaches that she could not read but was constantly made aware of. The changing light and the smells as sheet (winter) went into boshonto (spring). The Ashar clouds that the photographers waited for, which seemed to wait until the light was right.
Rickshaw wallas find circuitous routes to take passengers across the VIP road. Their tenuous existence made more difficult by the fact that permits are difficult to get, and the bribes now higher. Hip hop music in trendy discos in Gulshan and Banani with unwritten but clearly defined dress codes make space for the yuppie elite of Dhaka. The Baul Mela in Kushtia draws a somewhat different crowd. Ecstasy and Ganja breaks down some barriers while music creates the bonding. Lalon talks of other boundaries, of body and soul, the bird and the cage.
Photography creates its own compartments. The photojournalist, the fine artist, the well paid celebrity, the bohemian dreamer, the purist, the pragmatist, the classical, the hypermodern, the uncropped image, the setup shot, the Gettys and the Driks. The majority world. The South. The North. The West. The developing world. Red filters, green filters, high pass filters, layers, masks, feathered edges. No photoshop, yes photoshop. Canonites, Nikonites, Leicaphytes, digital, analogue.
The digital divide. The haves, the have nots. Vegetarians, vegans, carnivores. Heterosexuals, metrosexuals, transsexuals, homosexuals. The straight, the kinky. The visionaries, the mercenaries, the crude the erudite, the pensive the flamboyant. Oil, gas, bombs, immigration officials. WTO, subsidies, sperm banks, kings, tyrants, presidents, prime ministers, revolutionaries, terrorists, anarchists, activists, pacifists, the weak, the meek, the strong, the bully. The good the evil. The hawks the doves. The evolutionists, the creationists. The crusaders the Jihadis. The raised fist, the clasped palms. The defiant, the oppressive, the green, the red. The virgin.
Whether cattle are well fed, or children go hungry, whether bombs are valid for defence, or tools of aggression, boundaries ? seen and unseen ? define our modes of conduct, our freedoms, our values, our very ability to recognise the presence of the boundaries that bind us.
Festival Website

Masterpieces To Go

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Another non-terrorist Pakistani story.

Under the shade of a colossal banyan tree, Karachi truck painter Haider Ali, 22, is putting the finishing touches on his latest creation: a side-panel mural of Hercules subduing a lion, rendered in iridescent, undiluted hues of purple, yellow, red and green. His 10-year-old nephew, Fareed Khalid, applies a preparatory undercoat of white paint to the taj, the wooden prow that juts above the truck?s cab like a crown. Like Ali?s father, who first put a brush into his son?s hand at age eight, Haider is carrying on a master-apprentice tradition with Fareed, who spends his afternoons in the painter?s workshop after mornings in school.

Power of Culture: Bangladeshi Spirit

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Over the years, February has become our month of resistance. This is the window that successive repressive governments have allowed us, to vent our steam. The open air plays in Shahid Minar, the book fare in Bangla Academy and of course the midnight walk and the songs of freedom on the night of Ekushey, the 21st February, are all tolerated, for one month.
Yuppie Bangladeshis put on their silk punjabis and saffron sarees, and become the torch bearers of our heritage, for one month. Come March, it will be business as usual. It has been difficult convincing development experts of the value of culture in our society. With ‘poverty alleviation’ being the current? buzzwords, one forgets, that it was the love for our language that shaped our resistance in ’71 or that ‘Bangla Nationalism’ has been used to justify repression in the Chittagong Hill Tracts. On the 1st February, perhaps we could look back at a collaboration between Drik in Bangladesh, and Zeezeilen in the Netherlands:
Power of Culture: Bangladeshi Spirit
Culture glides through peoples’ consciousness, breaking along its banks, accumulating and depositing silt, meandering through paths of least resistance, changing route, drying up, spilling its banks, forever flowing like a great river. Islands form and are washed away. Isolated pockets get left behind. It nurtures, nourishes and destroys. Ideas move with the wind and the currents and the countercurrents. Trends change, flowing in the slipstreams of dominant culture. A few swim against this current, while others get trapped in ox-bow lakes, isolated from the mainstream.
Photography, more than any other media or art form has influenced culture. Photographs in particular take on the dual responsibility of being bearers of evidence and conveyers of passion. The irrelevant discussion of whether photography is art has sidelined the debate from the more crucial one of its power to validate history and to create a powerful emotional response, thereby influencing public opinion. The more recent discussions, and fears, have centred on the computer’s ability to manipulate images, subsuming the more important realisation that photographs largely are manufactured by the image industry, one that is increasingly owned by a corporate world. The implied veracity of the still image and its perceived ability to represent the truth hides the ubiquitous and less perceptible manipulation enabled by photographic and editorial viewpoint. Not only can we no longer believe that the photograph cannot lie, we now need to contend with the situation that liars may own television channels and newspapers and be the leaders of nations. Given the enormous visual reach that the new technology provides, the ability to lie, is far greater than has ever been before.
Photography has become the most powerful tool in the manufacturing of consent, and it remains to be seen whether photographers can rise above the role of being cogs in this propaganda machine and become the voice for the voiceless.