The Mexican suitcase

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Trisha Ziff is a curator of photography and documentary film maker whose films, focus on the photographic image. A Guggenheim scholar, her exhibitions have been seen at major international museums including: Victoria & Albert Museum, London; California Museum of Photography, international Center for Photography New York and Centro de la Imagen Mexico City. Her exhibitions have looked at Mexican photography, the event of Bloody Sunday in Ireland, Hidden Truths and the famous image of Che Guevara, by Korda.

Message from Trisha:
My film, The Mexican Suitcase, is in DOCUWEEKS! This means that after screenings in New York and Los Angeles we’ll have accreditation giving us the possibility of being short listed for an Oscar nomination! Our film will be at the IFC cinemas in New York and Laemmle 5 in LA with the other DOCUWEEKS films.
The Mexican Suitcase is a 90 minute feature documentary that tells the extraordinary story of the recovery of 4,500 negatives taken by photographers Robert Capa, Gerda Taro and David Seymour during the Spanish Civil War, with an extraordinary score by composer, Michael Nyman. The film reveals the story of the journey of these lost negatives from France to Mexico. I became involved in the story early on and was able to recover the negatives for the families of the photographers and personally returned them to their estates in New York. The story was on the front page of newspapers the world over… Finally, I was able to secure the rights to make this film and three years later, here it is!! The film is getting recognition, being seen at festivals as Karlovy Vary, San Sebastian, Morelia FF, LALIFF,DOCMIAMI and Dubai FF and we are still waiting to hear from many others.
DOCUWEEKS is unique. It gives us this incredible opportunity for an Oscar nomination run. However, to do this we need to raise the necessary funds. This is where you come in! Friends of our film.
DOCUWEEKS is expensive. We have had to pay our percentage of participipating, make a trailer, poster, postcards and hire a publicist! it all adds up to $45,000. We have received some initial donations and generous in-kind support too but we still need to raise a further $20,000. Every dollar helps!
The Mexican Suitcase, is a film about photography. Pictures taken by photographers who would become icons of the twentieth century – They photographed with a Leica and changed the way we saw war. All three would die while documenting wars. The Mexican Suitcase tells their story. It is is also a film about the power of memory. It’s a great story and asks… Who owns our histories? Why does the past matter today?
Funds raised by Kickstarter will be used only to help the film with DOCUWEEKS in Los Angeles and New York. As a result of these 2 week screenings, The Mexican Suitcase will qualify for academy consideration. Help us please to reach our goal and take this opportunity to the next level so we can be shortlisted for Oscar nomination.
Trisha Ziff – Director.

Subcontinental drift

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By Salil Tripathi

Does the controversial book about Bangladesh?s war of liberation uncover new truths, or simply reverse old biases?

It is an article of faith in Bangladesh that three million people died in its war of independence in 1971. At that time, the population of the former East Pakistan (which became Bangladesh) was about 70 million people, which means nearly 4% of the population died in the war. The killings took place between 25 March, when Pakistani forces launched?Operation Searchlight, and mid-December, when Dhaka fell to the invading Indian Army and the Mukti Bahini forces (who was aiding whom depends on which narrative you read? India?s or Bangladesh?s). As per Bangladesh?s understanding of its history, the nation was a victim of genocide. Killing three million people over 267 days amounts to nearly 11,000 deaths a day. That would make it one of the most lethal conflicts of all time.
One of the most brutal conflicts in recent years has been in the Democratic Republic of Congo, where the International Rescue Committee reported that 5.4 million people died between 1998 and 2008. A more thorough Canadian analysis now concludes that the actual figure is about half. At 5.4 million deaths, the daily death toll would be around 1,500; at 2.7 million, around 750. Was the 1971 war up to 15 times more lethal than the Congolese conflict?
A history of violence: A scene from the bloody conflicts of the 1971 Bangladesh war. Photo: Getty Images
A history of violence: A scene from the bloody conflicts of the 1971 Bangladesh war. Photo: Getty Images
It is an uncomfortable question. Many Bangladeshis feel that raising such a doubt undermines their suffering and belittles their identity. But a thorough, unbiased study, going as far as facts can take the analysis, would be an important contribution to our understanding of the subcontinent?s recent history.
Continue reading “Subcontinental drift”

Where Three Dreams Cross

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By Rosa Maria Falvo

Spanning 150 years of photography from India, Pakistan, and Bangladesh, this ambitious survey of historic and contemporary works includes over 400 images by 82 artists. Using ‘shared culture’ as a parameter, it is the first comprehensive vision of South Asia to be presented in the West; these images are not ‘about’ the region and there are no European perspectives to be seen. Indeed, those looking for a text driven, ethnographic narrative of an ex-colonial world will sadly be missing the point.
Installed in a bastion of Western art ? London’s Whitechapel Gallery ? 63 years after Indian Independence and the subsequent dissolution of the British Raj, this show aspires to explore its topography with decidedly indigenous eyes. Of course, politics is inherent in picture making ? our ‘ways of seeing’ and the context in which we see them pose fundamental issues. Refreshingly, this is a case of self-discovery, a kind of meditative picturing of a collective self and its geographical truths, where the ‘other’ is observing from within.

Workers at a construction site. Circa 1988. ??Mohammad Ali Salim/Drik/Majority World

Images like Mohammad Ali Salim’s Worker’s at a city construction site? (Bangladesh, 1980) and Mohammad Arif Ali’s Rainy Days Image of Lahore (Pakistan, 2008) are not invested in archetypal victims or street urchins. While they do not ignore the pain or the facts, they offer a purposeful and frequently hopeful alternative to the media driven images of death and destruction, which have arguably desensitised audiences on the ‘outside’. The curators have set out to question and even defy our received notions of the Subcontinent, presenting a sort of counter-colonial response to the official Western history of photography. They are asking us to celebrate South Asia’s contribution, beginning in India in 1850, and in this sense the show becomes a pioneering catalyst, inspired by the gaps.
The curatorial line wants to trace the finer social and creative turning points inherent in each body of work. Sunil Gupta references a particular instance in how transsexuals are depicted in the context of the historic “fluidity of sexuality in India”, previously outlawed under colonial law. While homogenisation is an obvious danger, he is quick to remind us that “culture cannot be partitioned”, and the power of photography to engage contemporary audiences is such that ‘Westerners’ are likely to notice the similarities between these nations, while ‘South Asians’ are necessarily sensitive to their differences. But the landscape is shifting, as ‘majority world‘ issues are increasingly addressed by those who understand them most and can no longer be ignored. More representations of the internal structures of hitherto ‘foreign’ realities will eventually balance out those one-dimensional visions of systems, symptoms, and conflicts. If there is a trend in the emergence of ‘indigenous photographers’ it is that they are able to achieve an intimacy with their subjects which enhances their humanity. For me it is this authenticity of image making that carries the editorial eloquence of its subject matter.
Paradoxically, despite its thriving art market, photography as a discipline is still emerging in India. And in Pakistan interest in this medium by a new generation of artists is a promising but recent phenomenon. Bangladesh has led the way with an established international festival – Chobi Mela – and Dhaka’s dynamic Drik gallery (Sanskrit for vision) which has represented local professionals for more than 20 years.
This show is arranged in five thematic sections, which inevitably blend into and across national stories: the portrait, the performance, the family, the street, and the body politic.
The wife of popular Bollywood movie star Amitabh Bachhan, Joya Vaduri, before marriage. The image on the cover of Film Fare magazine is of Sharmila Thakur. This image was taken while Joya Vaduri and her friend Sharmila Thakur were shooting in Satyajit Ray's movie "Mahanagar" at Studio Nol. The beard and moustache was painted on the face of Sharmila Thakur with pen. The Headline reads "The way I would like to see you." Joya. 1963. ??Amanul Huq/Drik/Majority World

Portrait of Mother Teresa. Dhaka, Bangladesh. January, 1981. ??Nasir Ali Mamun/Drik/Majority World

Legendary photographers from Bangladesh, such as Amanul Huq and Nasir Ali Mamun are presented?alongside their present-day counterparts, such as?Abir Abdullah, Shumon Ahmed, and Shahidul Alam.
Sex workers attend a protest rally with torch after the eviction from the 180 year old brothel at Tanbazaar, Narayangonj. ??Abir Abdullah/Drik/Majority World

Shumon Ahmed self portrait

Surrounded by her worldly belongings, a woman cooks the family meal. The next day, the water had risen another three feet. Jinjira, Dhaka, Bangladesh. 1988. ??Shahidul Alam/Drik/Majority World

There are works from the early 19th century from the renowned Alkazi Collection in Delhi, the Abhishek Poddar Collection in Bangalore, and the White Star Archive in Karachi, and many previously unseen works from family archives, galleries, and established contemporary artists. We see hand-painted images of courtesans and families by anonymous photographers in the very first Indian-run studios, journalistic depictions of key political events (Rashid Talukder’s Sheikh Mujibur Rahman returns to his homeland? in 1972 and Benazir Bhutto’s arrival at Karachi airport in 1988), and cutting edge reconfigurations of the built up environment (Farida Batool’s “Nai Reesan Shehr Lahore Diyan” 2006, and Rashid Rana’s Twins 2007). As virtual co-protagonists in the unfolding of these stories, viewers are left to provide their own social critiques.
Bangladesh : Sheikh Mujibur Rahman returns to his homeland on being released from the jail in Pakistan. January, 1972. ??Rashid Talukder/Drik/Majority World

Fantastic circus acts (Saibal Das’s Matinee Show 2001) and glamorous Bollywood stars (Dev Anand and Meena Kumari in the 1950s) capture portraits within portraits, reinforcing photography’s ability to empower the object of its gaze. Here is a region reconstructing its own image, touching on castes and sexuality as naturally as geopolitics and environmental disasters. It is not the ‘otherness’ we need to consider, but rather our willingness to become re-acquainted with what we have presumed to know.
Echoing the literary musing of one of the curators, Radhika Singh, who titled the show on a line from T.S Eliot’s Ash Wednesday (1930) – “This is the time of tension between dying and birth; The place of solitude where three dreams cross?” – I can’t help recalling William Blake’s Letter to Revd Dr Trusler (1799) – “As a man is, so he sees. As the eye is formed, such are its powers”. Packaging imagery and argument is always problematic, but this show’s self-assured and celebratory tones manage to amaze both aesthetically and intellectually. As if the collective lens were refocused on the circulation of discourse and the forging of transnational connections between people across time. It’s a pity this exhibition is not, at least at this stage, travelling to places like Birmingham or Leicester, where the fields of vision from within contemporary Britain would no doubt offer even richer educational perspectives.
Rosa Maria Falvo
Independent writer and curator, with a focus on Asian contemporary art. She is the Asia-Pacific Publications and Projects Consultant for Skira International Publishing in Milan.
Podcast of my talk at a symposium at the show in Fotomuseum Winterthur
Symposium at Fotomuseum Winterthur
First published in Nafas Art Magazine a project of the Institute for Foreign Cultural Relations (ifa, Germany)

Emerging from the Shadows

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The first Friday of every month, we would clear out the furniture of Bijon Da?s ?Boithok Khana? (drawing room), move some of the chairs out to the verandah, and set up a table for the speakers. People would invariably arrive in dribs and drabs, but pretty soon, the rickety chairs would get filled up and the crowd would spill over into the verandah. This was where Manzoor Alam Beg held court.
Cowboy by Manzoor Alam Beg
Young photographers with their first black and white prints, would mingle with the likes of Rashid Talukder and Anwar Hossain. The ever young Dr. Ansaruddin Ahmed would hand out his pristine prints. The crowd would wait in expectant silence for the results of the monthly photo contest. The monthly photographic newsletter, then without pictures, would be distributed. Invariably, there would be a speech or two. It was a camera club, trade union and a hangout joint, all rolled into one. Despite the mix, the salon smell hung in the air. Much was made of acceptances in salons. A gold medal, a bronze, or even an honourable mention, was celebrated. Winners were generously applauded. Outside of the salon circuit we knew little of what was going on elsewhere, but if it was a well we were living in, it was a nice well. That monthly meeting meant a lot to all of us.
boat by Naibuddin Ahmed
There were few who remained from the old school. The recent split from Pakistan meant that the established studios like Zaidi?s had gone. But the war of liberation changed the Bangladeshi psyche. 1947, while of immense significance to South Asia, meant little to Bangladeshis. History books barely touched upon it. There were few references to it in literature. 1971 on the other hand was a lived experience. Unsurprisingly therefore, apart from the early photographs of Golam Kasem Daddy, dating back to 1918, there are few early photographs from Bangladesh.? There followed a romantic period where photographers like Amanul Haque and Naibuddin Ahmed produced stylized landscapes and carefully set up idyllic images of people. Nawazesh Ahmed and later Anwar Hossain, began to adopt a more contemporary feel to their images. Bijon Sarker and Manzoor Alam Beg, combined elements of classical pictorialism with the curiosity of an experimentalist. Sayeda Khanam was the lone woman of that era. Doggedly pursuing an almost entirely male profession.

Sayeda Khanom
??Sayeda Khanom/Drik/Majority World

1971 was a turning point. Rashid Talukder?s nose for a picture and his journalistic instinct, ensured that he was at the right place at the right time throughout Bangladesh?s turbulent history. Having had no formal education in photography, Talukder was freed of the compositional binds that many contemporary image makers were trapped within. The 2 ? square had its own aesthetic, but Talukder and other photojournalists used the balanced frame to capture some of the most disturbing images of the 20th century.
Dismembered head at killing fields of Rayerbazaar. Photo: Rashid Talukder
Dismembered head at killing fields of Rayerbazaar. Photo: Rashid Talukder/Drik/Majority World

Talukder?s dismembered head of a slain intellectual, framed by bricks and their sharp shadows, being perhaps one of the most powerful images of the 20th century. Talukder, Mohammad Shafi, Jalaluddin Haider, Aftab Ahmed were amongst the press photographers who documented some of the everyday events of 1971. But Talukder?s picture of the bayoneting of Biharis, had been hidden from public sight until Drik published it in 1993. Kader Siddiqui, the man responsible for the killings, was too powerful a man to antagonize, and until then, no publication had been prepared to take the risk. A similar frame by Michel Laurent, had meanwhile won a Pulitzer. Talukder?s dismembered head too, had been passed by the the authors of the Century Book. Others, had recorded 1971 in their own way. Taking great risks as amateurs, preserving a history of our birth pangs, knowing it could signal death.

Purple backed sunbird by Shehab Uddin? Shehab Uddin

Photographers then started specializing. S S Barua, and Nawab became the bird specialists, to be later followed by Enamul Huque and Shehab Uddin. Consumerism had approached, and photographers in the new nation were turning to fashion. Shamsul Islam Al Maji brought a modern touch to glamour, but Amanul Haque in his classical style also painted a rural Bangladesh, complete with the beautiful farmer?s wife, her red sari provided by the photographer, her gourd plant, planted by him a year ago, so it would be the right height at the right time of the year.
Moon and cow by Mohammad Ali Salim
Then came the salon era. Mohammad Ali Selim, Kazi Mizanur Rahman, Kashi Nath Nandy, Abdul Malek Babul, Debabrata Chowdhury were all fine photographers, but their arena was the camera club contest. The rule of thirds, the well placed diagonal, the balanced image, was what everyone was making. They entered contests, won prizes, vied for medals and certificates. This was a world in itself. The Bangladesh Photographic Society became the launchpad for the contest winning photographers. The stickers at the back of the prints were often more important than the images themselves. The society newsletter proudly boasted of salon acceptances. Strategies for winning contests were hotly debated at the monthly meetings. Stardom was based on number of medals and not on quality of content. Pretty pictures ruled.

woman in ballot booth

Woman voting at a ballot both. Election 1991 ? Shahidul Alam/Drik/Majority World

While photojournalists had recorded street life and political strife, and a few photographers had addressed poverty, there was no culture of documentary practice. No personal projects. Photography was still seen as an illustration, meant to fit in with a predetermined caption. The movement against General Ershad changed all that. Resistance had been building, and the iconic image of Noor Hossain, with ?Let Democracy be Freed? painted on his back, was a turning point. In 1971, the photographs were taken surreptitiously, under fear of death. In the new movement, the photographers were in the fore. They were the witnesses of the people and empowered by people?s will. Ershad clamped down on the media, enforcing censorship. The media responded en-masse, stopping publication in protest, but the photographers continued to work, and when the general fell, and an impromptu exhibition was organized of pictures of the movement, the queue outside Zainul Gallery was nearly a mile long. There were near riots as people stormed the gallery to get a glimpse of their hard earned victory.

F5 No 91 24 riots at exhibition entrance

Hasan Saifuddin Chandan controllling the crowd at the entrance to Zainul Gallery. 13th December 1991. ? Shahidul Alam/Drik/Majority World

The struggle for democracy had an obvious impact on the photographic movement. 1989 was a significant year. 150 years after the birth of photography, the region?s first photo library, Drik, was set up. The Bangladesh Photographic Instititute was set up. After sustained lobbying by photographers a bill was passed in parliament for a department of photography to be set up in Shilpakala Academy, the academy of fine and performing arts. That too was in 1989 though it was never implemented. The workshops at the Bangladesh Photographic Institute and at Drik showed there was another way of working and that photography had more to offer than simply producing pretty images or winning awards. Photography was also trying to move away from the shadows of painters who still ruled supreme. The success of a photograph had always depended on how well it resembled a painting. The medium began to find its own identity, and while photography was still not considered art, photographers were now not so concerned about the label. So photographers found their own solutions. They did what other artists and media professionals had failed to do. They aggregated, and made up for lack of external support by supporting each other. A revolution was in the making.
But there were other pressures too. Most photographers still found it difficult to make a living and the lure of ?bidesh? (foreign lands) was too much for many to withstand. Several of the young photographers who were making the transition away from Salon photography, decided to try their luck overseas. Years later, not one of them has been successful in establishing a career in photography. Nasir Ali Mamoon was an exception in some ways. Portraiture had always been his forte. While others drove taxis, worked in petrol stations, or temped in low paid jobs, Nasir took this opportunity to produce portraits of people he admired. Ginsberg, Gunter Grass and many others filled his album. While unsuccessful commercially, he was able to expand his photographic repertoire and eventually, when he decided to leave the others behind and return to his native land, he was able to establish himself as THE portrait photographer of the era. Fine portraits adorned the newspaper he worked for, and while the post was largely ornamental, he was made the first picture editor of a newspaper.
Der Special Layout-1
There followed a resurgence in the media. With the return of democracy, new newspapers filled the newsstands. There was also another movement taking place. The nation?s first picture library had been set up. While international media had no interest in the democratic struggle in Bangladesh, the cyclone in 1991 that followed was familiar fodder to world media and their appetite was insatiable. There was a difference though. This time the work of local photographers also filled the pages of the New York Times and the Newsweeks of the world. Mostly they were similar images different only in having been taken by locals, but soon the content and the focus also changed. The New York Times published a full page on their Sunday Week in Review on the 1991 cyclone which did not show a single corpse. There were pictures of fishermen rebuilding their boats, farmers replanting seeds, villagers rebuilding their homes. The world began to engage with a new story teller. One with local roots. The first fund raising photo exhibition took place in 1991 and raised over 4000 dollars for cyclone victims.
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The newly formed agency Drik, began to bring in photographers from all over the globe to conduct workshops. Its regular calendar became a showpiece for Bangladeshi photography. Well printed postcards and posters, complete with credit lines for photography. Photographers learnt to protest when their pictures got stolen. A movement was taking shape. It crystallised with the formation of? Pathshala. The South Asian Institute of Photography. The setting up of the school represented a clear move away from Salon photography. Documentary photographic practice complete with the engagement it involved became an emerging trend. Soon a few women joined the ranks, and the photo stories ranged from the usual ?subjects? of international photographers like prostitution and floods to the more personal representation of family life, and the search for identity. The students were hungry, and the explosive mix of inspiring teachers and driven students soon created the photographic explosion that was inevitable. Bangladesh emerged in the world of documentary photography as no other nation had. Before 1998, no Bangladeshi photographer had ever won an award at World Press Photo. Shafiqul Alam Kiron?s winning entry on women victims of acid attacks was soon followed by Chobi Mela, the first festival of photography in the region. The heady mix of great photographers walking down the streets of Dhaka. Showcasing work on the same gallery walls with the best of the best, would have to be inspirational. Meanwhile the school continued shaping their craft, pushing them to their limits. Some made it to Masterclass, others were star students of the seminar programmes. Time Magazine, Newsweek, The Guardian, Le Monde, and other leading publications across the globe suddenly woke up to this great wealth of photography in Bangaldesh.

Then things got stuck. Success is a hard act to live with, and the rapid recognition of the star photographers created a flock of clones who followed. Some found their own identity, but many were just following. Again it was Chobi Mela to the rescue. The identity of the festival itself was changing. Drik?s success had given it the overall stamp of documentary practice, but slowly other photographic genre was creeping in. Fine art, conceptual work, the odd installation, began to work its way into the gallery spaces. The level of intellectual engagement drew many others besides photographers. Practitioners from Africa, Latin America and Australia joined the Europeans and North Americans, and of course Asians who regularly joined the festival. Speakers like Noam Chomsky had conversations with regional legends like Mahashweta Devi. This was all the spark that was needed. A resurgent Pathshala, started producing more provocative work, and broached new territory. It was a movement in the making and the rules were being made as one went along.

Chobi Mela in Kathmandu 4122Chobi Mela V tours to Kathmandu

The Bangladesh segment of the exhibition “When Three Dreams Cross” tries to map this journey, through the images that formed the milestones of this movement. There are significant departures from the mapping we had attempted to follow. The irrelevance of 1947, and the huge presence of 1971, has played a role that is to be expected. Other less expected characteristics have been the absence of the physical representation of habitats, artefacts, and mementos that are often a part of vernacular photography. Until recently, even family photographs, weddings and the many other everyday things that always been the visual basis for understanding cultures has largely not been preserved. Waqar Khan, has made an important contribution by collecting old photographs, mostly from aristocratic homes, which documents some aspects of this history. But the warm humid climes of this delta, has led to the erosion of much of our physical heritage. The shifting of the rivers has led to an uprootment of many who no can no longer relate to a homestead they can call their own. This transience and the nomadic existence that follows has perhaps led to the loss of a need to preserve. Very few archives exist. Not only in visual terms, but in music and film and many other art forms. This absence, in a way, documents a mode of thought and a way of life, that perhaps tells more about Bangladesh than the missing photographs might have done.
Not every artist is featured, but every influence is present through what they, or others who were inspired by them, produced. The early work of Golam Kasem and the establishment of the Camera Recreation Club had a distinct influence. Manzoor Alam Beg?s steadfast role as a mentor and an organizer, held the community together for many years. The Ahmed brothers brought out the first book on photography, and Nawazesh Ahmed, an agronomist with a PhD, brought respectability to the medium and at least for him, an acceptance within academia. Anwar Hossain was the enfante terrible who brought immediate attention through his arresting images, his controversial statements, and his maverick lifestyle. Sadly he too lost the edge that was his hallmark and has largely retired into oblivion. Hasan Saifuddin Chandan and the string of fine photographers who produced evocative images in the early nineties, also lost their way, though the Map Agency, set up by Chandan and a few other talented photographers continues and has made a valuable contribution. Sayeda Farhana, Sanjida Shaheed and a few other photographers, mostly women, began to explore the edges of contemporary photography, using their training as social scientists, fine artists, and in other areas of learning to inject into photography, a tertiary value which the more straight laced, mainstream photographers had failed to achieve. But the moment still belongs to the young crop of photojournalists who have recently emerged from Pathshala. Abir Abdullah, GMB Akash, Saiful Huq Omi, Munem Wasif, Khaled Hasan and other emerging photographers, all photojournalists of exceptional talent, made the world sit up. The wealth of exceptional photography emerging from this small nation has taken the photojournalism world by storm. There are those who feel there is a sameness in their approach that they would like to question and Shumon Ahmed and Momena Jalil are amongst the photographers who have ventured outside the tried and tested path to find other modes of expression. But this incomparable strength in photojournalism cannot be denied. Many of these former students are now the new mentors. The traditional forms of apprenticeship might have been lost over the years, but a more classic form of pedagogy has led to a learning environment that will surely take the world by storm.
Shahidul Alam:?Curator
Written for the catalogue of “Where Three Dreams Cross: 150 Years of Photography from India, Pakistan and Bangladesh” 21 January 2010 – 11 April 2010 Galleries 1, 8 & 9 at the Whitechapel Gallery in London. Photographers Naibuddin Ahmed and his younger brother Nawazesh Ahmed, passed away between the time this article was written and when it was published.

Where Three Dreams Cross

When Three Dreams Cross Banner

(Left to right: Abir Abdullah/Drik, Golam Kasem Daddy/Drik, Abdul Hamid Kotwal/Drik, Nasir Ali Mamun/Drik, Rashid Talukder/Drik, Mohammad Ali Salim/Drik)


150 Years of Photography from India, Pakistan and Bangladesh

[ 21 January ? 11 April 2010 ]

The work of Bangladesh?s historic and contemporary photographers come together in a landmark exhibition which explores culture and modernity through the lens of photographers from India, Pakistan and Bangladesh. Where Three Dreams Cross is a major survey of historic and contemporary photography from the subcontinent, with over 400 works by 82 artists, to be held at the Whitechapel Gallery in London, UK.
From the archives of Drik, legendary Bangladeshi photographers such as Golam Kasem Daddy, Sayeeda Khanom, Amanul Huq, Nasir Ali Mamun and Rashid Talukder will exhibit alongside their contemporary counterparts, including Abir Abdullah, Munem Wasif, Momena Jalil and Shumon Ahmed. Dr. Shahidul Alam, founder and director of Drik, will also be exhibiting and was one of the curators who brought the show together.
Images on show range from the earliest days of photography in 1860 to the present day. Seminal works from the most important collections of historic photography, including the renowned Alkazi Collection in Delhi, the Drik Archive in Dhaka, the Abhishek Poddar Collection in Bangalore, and the White Star Archive in Karachi join many previously unseen images from private family archives, galleries, individuals and works by leading contemporary artists.
Where Three Dreams Cross gives an inside view of photography from India, Pakistan and Bangladesh.? It includes images from the first Indian-run photographic studios in the 19th century, social realism and reportage photography from the 1940s,
the documentation of key political moments, amateur photography from the 1960s, and street photography from the 1970s. Contemporary documentary-style photographs of everyday life present an economic and social critique, while the
recent digitalisation of photography accelerates crossovers with fashion, film and documentary.

ADDITIONAL INFORMATION

  • ? For further press information or images please contact:

Jessica Lim at jessica@drik.net
Rachel Mapplebeck RachelMapplebeck@whitechapelgallery.org
Elizabeth Flanagan ElizabethFlangan@whitechapelgallery.org

  • ? Exhibition Details:

Opening times: Tuesday ? Sunday, 11am ? 6pm, Thursdays, 11am ? 9pm.
Tickets: ?8.50/?6.50 concs. Free to under 18s.
Whitechapel Gallery, 77 ? 82 Whitechapel High Street, London E1 7QX.
info@whitechapelgallery.org whitechapelgallery.org

  • The exhibition tours to the Fotomuseum Winterthur, Switzerland, 11 June ? 22 August 2010.
  • A full colour catalogue accompanies the exhibition, with a curator?s introduction and essays by Sabeena Gadihoke, Geeta Kapur and Christopher Pinney.
  • Where Three Dreams Cross: 150 Years of Photography from India, Pakistan and Bangladesh is supported by: Andy Warhol Foundation, Columbia Foundation, Paul Hamlyn Foundation.
  • ? List of Participating Artists:

? Abir Abdullah, Bani Abidi, Syed Mohammad Adil, Ravi Agarwal, Shumon Ahmed, Aasim Akhtar, Shahidul Alam, Mohammad Arif Ali, Mohammad Amin, Kriti Arora, Abul Kalam Azad, Pablo Bartholomew, Farida Batool, Jyoti Bhatt, Babba Bhutta, Hasan Bozai, Sheba Chhachhi, Children of Sonagachi, Bijoy Chowdhury, works produced by CMAC, Iftikhar Dadi, Saibal Das, Prabuddha Dasgupta, Shahid Datawala, Lala Deen Dayal, Anita Dube, Gauri Gill, Asim Hafeez, Amanul Huq, Sohrab Hura, Fawzan Husain, Manoj Kumar Jain, Momena Jalil, Sunil Janah, Tapu Javeri, Samar and Vijay Jodha, Golam Kasem Daddy, Sayeeda Khanom, Dinesh Khanna, Anita Khemka, Sonia Khurana, Abdul Hamid Kotwal, Arif Mahmood, Nasir Ali Mamun, Anay Mann, Deepak John Matthew, Huma Mulji, Nandini Valli Muthiah, Pushpamala N., T.S. Nagarajan, D. Nusserwanjee, Prashant Panjiar, Praful Patel, Mohammad Akram Gogi Pehlwan, Dileep Prakash, Ram Rahman, Raghu Rai, Khubi Ram Gopilal, Rashid Rana, Kushal Ray, Kulwant Roy, Vicky Roy, Mohammad Ali Salim, T.S. Satyan, Tejal Shah, Tanveer Shahzad, Ketaki Sheth, Fahim Siddiqi, Bharat Sikka, Dayanita Singh, Nony Singh, Pamela Singh, Raghubir Singh, Swaranjit Singh, Umrao Singh Sher-Gil, Vivan Sundaram, S.B. Syed, Rashid Talukdar, Ayesha Vellani, Homai Vyarawalla, Munem Wasif, G.A. Zaidi.

  • ? Curators:

Where Three Dreams Cross: 150 Years of Photography from India, Pakistan and Bangladesh is curated by Sunil Gupta, photographer, writer and curator; Shahidul Alam founder and Director of Drik Archive and Pathshala, Dhaka, Bangladesh; Hammad Nasar, co-founder of the not-for-profit arts organisation Green Cardamom, London, UK; Radhika Singh the founder of Fotomedia, Delhi?s first photo library and Kirsty Ogg from the Whitechapel Gallery.

  • ? The Five Themes (Incorporating historic, modern and contemporary works):

The Perfomance focuses on the golden age of Bollywood in the 1940s and 50s and includes images of actors and circus performers by Saibal Das and Bijoy Chowdhury as well as artistic practices that engage with ideas of masquerade. In addition to
glamorous photographs of actors, film stills and behind the scenes action shots, this section also includes the work of Umrao Sher-Gil, Bani Abidi, Sayeeda Khanom, Sonia Khurana, Amanul Huq and Pushpamala N.
The Portrait charts the evolution of self-representation, through the portraiture of a range of individuals from maharajas to everyday people. Works range from nineteenth century studio portraiture drawn from the Alkazi Collection to Pakistani
street photography by Babba Bhutta, Mohammad Akram Gogi Pehlwan and Iqbal Amin as well as contemporary work that offers a new take on the form by Shumon Ahmed, Gauri Gill and Samar and Vijay Jodha.
The Family explores and close relationships and group affiliations within society. It traces a history from late nineteenth century hand-painted family portraiture by artists such as Khubi Ram Gopilal through to informal amateur snaps by Nony Singh and Swaranjit Singh as well as contemporary investigations of creed, communities and race.
The Streets addresses the built environment, social documentary and street photography. This section encompasses a range of works from the early studies by Lala Deen Dayal to images of a globalising India by Bharat Sikka. It intersperses the
photo-documentary traditions of Ram Rahman and Raghubir Singh with contemporary practices by artists such as Iftikhar Dadi and Rashid Rana.
The Body Politic looks at political moments and movements within the subcontinent?s history. It touches upon the key dates of 1857, 1947 and 1971, as well as expanding beyond the tension lines between castes and beliefs to explore sexuality and eco-politics.? Portraits of nineteenth century courtesans feature alongside portraits of politicians. Also included are Sunil Janah and Homai Vyarawalla?s iconic press images, the photo journalism of Tanveer Shahzad and Rashid Talukdar, Kriti Arora?s? documentation of Kashmir, Munem Wasif?s? images recording the effects of global warming in Bangladesh and Sheba Chhachhi?s female mendicants.
Review in Guardian (UK)
Review in Independent (UK)

20 Years of Drik

Twenty years.

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How does one articulate a history spanning two decades in a few lines? The truth is, you can’t. Which is why we are sharing with you some of our proudest moments in the best way we know how – with images.

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This exhibition is not about the number of years that have passed, but the milestones achieved and the battles won. It is about the new paths we have forged from the unlikely location of Dhaka, the capital city of Bangladesh.

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While we try to show cherished snippets of our past, there are others that we have to keep in our memory. The people who have helped us, the mistakes we made, the things we had to believe in with all our heart – these things are more challenging to visualise, but just as important.

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Drik was set up to be a platform for voices from the majority world, and on this special occasion, we are proud to introduce the first in the Golam Kasem Daddy Lecture Series.

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Twenty years.


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For some, it could seem like an eternity. For us, this is just the beginning.

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Scheherazade of Today

By Bushra Ejaz. Translated by Paramjit Singh Ramana.

Once she decided to banish love out of her life, her world turned upside down. She had never thought that later she would face any such problem that she won?t be able to solve. And trying to solve that problem, she would herself become a problem. She had never thought that in loveless times the flowers fade, the breeze turns into scalding wind, sadness engulfs the walls of your home and despite the cacophony of noises emanating from the courtyard, a deafening silence overwhelms you and takes possession of your heart like a cobra with its hood raised, whose hissing sets your very being on such a fire that neither the cold water nor the icy winds can ever extinguish. The heart burns, the cobra hisses, the fire rages and doesn?t die out. Whatever you do, it does not die out; it just refuses to die out.
She put her left hand on her chest and walked slowly towards the window. It was pitch dark in the street opposite. A municipal bulb, visible near the last corner of that lane near Zainab Massi?s [maternal aunt] house, looked like a lamp burning in a hut at the edge of a forest, which sometimes shows the way to the lost travellers. That bulb was surrounded by a silent darkness. A murmur could be heard coming from Uncle Arshad?s house, situated just opposite the window. Chachi [paternal aunt] Rashida will as usual be narrating the same old tale of Scheherazade to her grandsons and granddaughters. She would conclude with the words: ?What a wonderful woman she was! How intelligent, quick witted and brave!? When she heard that story as a child, she had asked, flapping her eyelashes, ?How come, Chachi?? ?That is because instead of accepting defeat, she had decided to bravely fight the cruel king. God helped her succeed. Look children, it is an honour for the brave to die fighting. Then death ceases to be death, it claims the status of martyrdom and that is a very high status, indeed,? Chachi had said.
Chachi used to tell this story always on the last day of the week. This was her principle. The children waited for the story for full seven days, and then she poured it into their ears, drop by drop. That was why this story was very popular among the children. The next day was a holiday and she remembered how instead of flying kites, playing marbles or simply making noises on the roof with her siblings, she had spent the day engulfed in silence. The issue of dying while fighting bravely had got stuck in her young consciousness. She spent the whole day lying on the cot and looking into the sky. In her heart she repeated innumerable times what aunt had said. But she couldn’t figure out what was so special about dying while fighting bravely which earned such praise from Chachi. What courage Scheherazade had displayed that so overwhelmed the aunt that she was narrating her story to everyone? When she could comprehend nothing, she decided not to listen to the story of Scheherazade again and came down from the roof.
Great, Chachi! She felt the echo of conversation reach her ears, and a sigh escaped her lips. Your Scheherazade had succeeded in defeating death due to her narrative gift. But here life itself has been crushing everyone since centuries. I haven?t seen any Scheherazade who could prevail over it. Everyone is afraid of it, and can be seen bowing before it with folded hands. Death appears helpless in facing life. Death is kind and one?s own, at least, it doesn’t reject you. Rather it accepts one into its lap with a lot of affection. She felt like shouting at Chachi Rashida through the window and ask her to let go of the poor Scheherazade now, for god?s sake. To forgive that Scheherazade! The poor girl might have got tired of fighting death. Let her face life now. She should also know that there is a world outside the world of art, where there is hunger, there are worries, there is sadness, there is hatred, there are contradictions and…. And life is like the cruel king. And life doesn’t pay any attention to the narrative skills of the master storyteller. It has no interest in any such art. Rather, it would be more appropriate to say that it’s not possible to trick it with any such art.
Life cannot be appeased. It has its own facts, its own assessments, its own canvas, its own brush and its own colours. Ideas too are its own and so it paints whatever catches its fancy: Upright, inverted, oblique, crooked, as she feels like. And the remarkable thing is that nobody can mould life the way one wants. ?O.K. Scheherazade! If you ever come out of the discourse created by Chachi Rashida, I shall tell you what life is all about.? The sigh emanating from her heart became an expression of her very being. Now in her eyes could be seen the innocence of an eleven year old girl, who takes note of the quickly lengthening shadows on a hot summer afternoon; one who has a small painting brush in one hand and a simple page, torn from a notebook, fluttering in the other.
She wanted to make a painting of the shadows; the shadows of the arches, walls, terraces and the attic of the house. The shadows that came down from the mulberry, mango, black plum and margosa trees growing in the courtyard and spread there in strange shapes, forms and directions. She used to watch the play of shadows while sitting in the centre of the courtyard in one of the arches of an old Baradari whose plaster was coming off. And her feeling of wonder used to multiply manifold when she would see an ill-shaped shadow emerge from the arch she sat under, and spread on the ground. ?Do I look like this?? surprised she would wonder and run into the room. It was during those days that she thought of capturing the shadows in a painting. Perhaps in this way the shadows could be prevented from spreading and lengthening. But that day, her amazement knew no bounds when she saw a shadow in the middle of the arch, move strangely left and right with a yard long brush on a square shaded piece of paper. Do shadows also…? She thought and threw the painting brush away.
It was during those days that a strange accident took place which threw her into a never ending vicious cycle. All her later life was moulded into that cycle. And that cycle became her life cycle. She could never get out of it. Then she could see nothing. She closed her mind?s eye. All her innumerable little childhood joys were strung into an unending chain of tears. Unobtrusively she put that chain around her neck, never to take it off. And then that little girl metamorphosed from Mother?s Muni to Zohri, to Zohra Baji and finally to Zohra Aapa. Recollecting that transformation, Zohra felt a cold shiver quicken through her being. Wrinkles began to appear on her face, which expressed her innocent fears. Sad glitter of twinkling glow-worms began to flicker on her empty palms. A scene emerged in front of her gloomy eyes, a scene that had snatched the joy of breathing from her and had burdened a twelve year old girl with a load of centuries. When she tried to carry the burden, her shoulders slumped, her back bent double, her hands started trembling and legs turned shaky. But she couldn?t even complain against the burden.
She just kept laughing. To keep smiling in face of an extreme sorrow is also akin to defeating the grief. Implicitly, it was like victory over grief. But she learned too late that it was not so. Grief was a wrestler that displayed greater tricks when it was out of the arena. It was simply impossible to prevail over it. Now she left the window and sat in the chair. She untied her long black hair and resting her head on the back of the chair, closed her tired eyes and took deep breaths. ?Life is a four-directional battle, Miss Zohra Sultan.? A whisper rose from somewhere close by. ?How many opponents will you fight? You?ll get exhausted.? ?This exhaustion is here since those days Professor Zaka, when I didn?t even fully understand the meaning of exhaustion.? She thought despondently, feeling the murmuring silence enclosed within the four walls of the room. How can I tell you, Professor Zaka? When the upheaval occurred, a good deal was buried under the rubble.
Long time ago, Professor Zaka, a dark night had swallowed the light out of my life like a cruel demon. The sleep had turned into a continuous wakefulness and dreams, into frightening dreamlessness. When a 12-year-old girl, rudely shaken out of her sound sleep by the frightening noises all around her, had chosen to plug her ears with her fingers. She had devoutly prayed to be blinded in both her eyes when she witnessed that horrifying scene. Finding herself defenceless and overcome by her vulnerability, she had accepted defeat and sitting near the mutilated bodies of her dear ones, had dipped her fingers in their thick blood and written a pledge on her own self. Crying, she had noiselessly run to the rooftop with Maya pressed to her bosom, to talk to God. Perhaps she had the illusion that God is nearer the rooftop. There is no barrier in-between, but this too was her delusion. She learned later that God is far away from everywhere. It is not so easy to reach Him. So she did not cry while giving the final bath and burying the blood-drenched bodies of her parents and three younger siblings. The dry dust flying into her eyes had settled on her eyelashes, spread on her lips and engulfed her very existence. Later, staring at the photograph of a terrorist, printed on the last page of a newspaper, she had tried hard to bring back tears to her dry eyes, the tears that got lost somewhere in the labyrinth of some dark alley on a brutal night.
Professor Zaka, the walls of that room used to be very pitiless and chilly where I, clutching Maya to my bosom, attempted to get rid of the questions written over the frightened open eyes of those mutilated bodies, and to find some sleep by hitting my head against the pillow. Covering both my eyes with palms of her hands, I used to vigorously recite the Ayat-ul-Kursi [a prayer from Quran]. ?Go to sleep, Go to sleep?, I used to admonish myself. Those days I used to feel very angry with God. I wished I would come face to face with Him and ask what type of a God He was who destroyed the world of the unsuspecting? Did He prefer those who haughtily roamed around freely, nonchalantly killing or injuring whosoever they liked, without any worry whatsoever? Pitted against them were people like us, who even after having been destroyed completely, kept on praying to You, talking to You.?
A car blew horn in the street below, she got up from her chair, shut the window and lay on the bed. On the wall facing her, was a photograph of twenty year-old Maya. Maya on whose lips a smile had spread out like flowering buds and life glittered in her eyes like a fountain in the hills. In her confident manner, there was an extraordinary openness. As if she will jump out of the photograph and exuberantly embrace her, ?Aapa, Zohra Aapa, the blue sky, high snow clad mountain tops, adventurers conquering those tops and the determination visible in the eyes of those people, fascinate me. Aapa, let us also go to conquer some top. I wish to plant my Aapa?s flag on the highest peak of the world. Zohra Aapa, the Great! Zohra Aapa, the highest peak in the world, higher than the Himalayas, mad?? She turned in the bed and felt a sharp twinge of sorrow rise in her chest: ?Wah Maya! How would you know of what brittle clay your sister is made of, how fragile is her being? It was for your sake that your Aapa transformed herself into something like the Himalayas. What else could she do?? ?But Aapa you never revealed why we were so alone despite having so many relatives?? ?Because we loved to live with freedom? she had smiled.? ?That is okay. But, when our parents died, you were so young. Tell me, how you decided to live on your own??
On this probing, a pitiless night buried deep in her heart stared at her ironically. But she was ready. Since long, she had prepared herself for this moment. So she spoke calmly: ?Maya, you have always been stupid. You fool, how was I alone? My Maya was with me, so were Noor Chacha, Massi Khairan, and Chacha Rashid. There were Masi Zainab and Mama Tufail. And we were there. They all were there. We have been living among them all. They used to be here all day long. Leave that, Yaar Maya! The truth is that I didn?t like locking up our parental house and shifting somewhere else. Should I tell you the truth, Maya?? She became a bit sad. ?You were so young; you do not know how our parents used to look after this house. They had supervised every brick that was laid in this house. They had carefully tended every leaf, every plant and every flower-bed with their labour and prayers. Then how could I desert this house and let others take its possession. Maya, this house is a place of worship for me, where love is a prerequisite and purity a duty; where you can respectfully pay your obeisance any time. Where you can worship and that is all.? Saying so, she tried to erase the image of that horrible night from her mind, when in that place of worship the blood of innocents was senselessly shed. That night, the cruel rite of butchering was performed; something, which was neither so ordained by God, nor expected as an offering by Goddess Kali. Perhaps, even she doesn?t demand such sacrifices any more. And God, He has been uninvolved from the very beginning, so uninvolved. Why should He require such sacrifices?
?What happened, Aapa?? Maya was troubled by the changing expressions on her face. ?Nothing, my dear.? She had controlled herself. A smile was playing on her dust covered lips. ?Then what happened, Aapa?? Detecting curiosity in Maya?s eyes, she continued slowly: ?Then, your Aapa grew up, matured, became the most mature, maturer than our parents and she succeeded the mother, took over her kingdom. In her kingdom, she simultaneously performed the duties of the king, the queen and the slave. She ordered shut all the secret escape routes. She zealously protected the borders of her kingdom and began to enjoy life with her dear Maya Rani. Everyone was surprised; everyone was confident about the imminent collapse of the kingdom; everyone was waiting. Everyone spread rumours; because such things had not happened before. But as you say, your Aapa is stronger than the Himalayas, so everything went off well. (And… my Maya grew up. After a long time she breathed peacefully, holding Maya to her bosom.) Perhaps life would have gone on comfortably had Professor Zaka?s arrival not caused the upheaval. A little joy trapped in her heart for centuries escaped through some small crack and settled on the forehead of Professor Zaka. What? Completely oblivious of his presence, Zohra stared at him surprised.
?Zohra Sultan! Time is fast running out of your grip. There is only one path available to those obsessed with the quest for truth in this universe; it is that they surrender their true need to the care of some Mansoor without wasting any time. Why do you forget that you are not alone in this universe? There are some other equally headstrong people here, who are driven by the same spirit, who live with that spirit and love their selfless desire.? She saw that a ray of happiness was now playing on Professor Zaka?s chest.
?Zohra Sultan! Howsoever high your aim, it should not defy nature, otherwise, the aim does not remain aim, it grows into obstinacy. Those who go against nature suffer and cause suffering to others also.? ?Professor Zaka, I don?t understand why you are after me? What do you want from me?? she heard herself speak. ?I don?t mean any harm, Zohra Sultan.? She observed that the glitter of some unseen happiness shining in Professor Zaka?s eyes had suddenly begun to fade away. He bowed a bit to place the notebook he was carrying, on the table. And she observed that the little ray of happiness that had been glowing on his chest suddenly vanished. ?I wish to draw you out of your self-created world where you have imprisoned yourself since ages.? ?It is not like that, Professor Zaka.? The confidence in her voice had a ring of defeat to it. ?Yes, yes, I know you regard this as your kingdom,? he spoke aggressively. ?But without seeking your pardon, I wish to assert Miss Zohra Sultan that you are making a big mistake, a very big mistake.?
This was the moment when angry Zohra Sultan ordered him out of her world. Banished love out of her life. And taking Professor Zaka?s spirit as an illusion, she withdrew completely into her own little world.
But after this, the time sense began to go awry. The tastes began to alter and the moods underwent transformation. After moving at her own pace for such a long time she began to feel an innocent urge in her heart to stop, to rest which she tried her best to suppress with her strict rules and discipline. But she saw that the urge was growing like the bamboo. The system of her kingdom got disturbed within days, hours and moments. The eyes, on guard since so long, began to feel heavy because of the sleeplessness; the eyelids tended to close under the weight of some unknown burden. In her heart she felt such a pang that she was even afraid to name. ?Is that all Zohra Sultan! How strange that you, despite being so courageous, intelligent, and self-confident, don?t know what is in your heart? Something that you long for, but can?t admit to yourself. Perhaps admission is defined as cowardice in your dictionary. But I would like to make this clear to you that there is limit to denial also. ?If defiance crosses a certain limit, it results in problems.?? The words of Professor Zaka came from so close that she was surprised.
?Professor Zaka! Long ago I tried to make a painting of the shadows. But I was so frightened by my own shadow that the painting brush fell from my hand. But do you know what happened after that? On seeing the innocent blood of my dear ones, I dipped my finger in the blood and wrote a pledge on my very being. The surprising thing is that this scene didn?t frighten me but a strange defiance permeated every pore of my being I cannot get rid of, now. Professor Zaka! You are right this ?kingdom? was a delusion; I have no hesitation in admitting this. I am in love with you but, believe me, my defiance creates a wall between you and me, a wall made of such a mirror that I find myself standing on its both sides. On both sides, I find myself. In such a situation, I do not understand where you disappear. Now tell me, where should I go? What should I do??
Far away, Professor Zaka was fast asleep in a room in the youth hostel, when something suddenly woke him up; as if the touch of a wing of some divine angel roused him, saying ?Get up, Professor Zaka!? He got up, and yielding his fulfilled dream to his shortened sleep, went towards that part of the city where a girl, captive of a cruel moment and sleepless since ages, was standing on the crossroads, carrying the burden of defiance on her head.

The familial order, not easily undone

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By Rahnuma Ahmed

The starting-point of critical elaboration is the consciousness of what one really is, and is ?knowing thyself? as a product of historical process to date, which has deposited in you an infinity of traces, without leaving an inventory…therefore it is imperative at the outset to compile such an inventory.
Antonio Gramsci, The Study of Philosophy,
quoted by Edward Said, in Orientalism
? the institutionalised forces of industrial capitalist society…constantly tending to push the meanings of various third world societies in a single direction. This is not to say that there is no resistance to this tendency. But resistance in itself indicates the presence of a dominant force.
Talal Asad, Genealogies of Religion

?We want democracy in the family?

It was 1990. We were out in the streets celebrating the downfall of the military dictator President HM Ershad, in the week that followed the historic 4th of December. Hundreds of thousands of people had gathered. The procession snaked its way through the central streets of Dhaka, from Topkhana road to Paltan intersection, on to Gulistan. People held banners and placards which proclaimed their party loyalty or their ideals. Some chanted slogans, others sang. Bystanders stood, they waved and cheered us on, some slipped in and joined us.
Meghna, Suraiya, Hasina, I myself and several others held placards, we belonged to Nari Shonghoti, a small research-cum-activist women?s group, intermittently active in those days. One of these, ?Poribarey gonotontro chai? received the most attention. Co-processionist men read it and nudged others. Smiling, they shook their heads. We smiled back and amidst the riotous explosion of noise mouthed the words, ?And why not?? Women, too, smiled. Some nodded their heads in solidarity, others, like men, knowingly. They knew that this was one sphere ? home, marriage, sexuality, love, housework, the distribution of resources ? where transformative and egalitarian changes would be the hardest to achieve. Dilli bohut door ast. Both men and women who encircled us in that sea of people, rejoicing at the downfall of the autocrat, knew that.
One can know oneself only as a product of historical processes because, for Gramsci, ?each individual is the synthesis not only of existing relations, but of the history of these relations.? Men and women are ?a pr?cis of all the past.? And the past, that is history, is only traceable through its traces. History?s very mode of existence is in the traces.
I sift through feminist and anthropological studies of this region and beyond, to discover the ?traces? of our colonial legacy, thought to be beneficent in social senses (?women?s rights?, ?autonomy?), and to understand the institutionalised forces of the West that push us to desire marriage and family relationships that are ?singular?. In the act of doing so, I also draw the attention of self-consciously thinking sections of Bengali society towards their uncritical acceptance of the encroachment of the modernising state, in areas of social life that were previously unregulated. This act of ?compiling inventories? in order to ?know thyself? is motivated by what I think is necessary: a critique of social, economic and ideological processes working to effect modernising changes in marriage and family forms in Bangladesh.
I have no answers to the questions that you may confront when you reach the end of this piece. ?Answers?, as such, can only be the outcome of social and political struggles.

Colonial ?traces?: the dismantling of jointness

Hilary Standing, a feminist anthropologist, has examined the deep-seated changes that took place in Bengali families as a result of the growth of wage dependency in late nineteenth and early twentieth century (1991). In an excellent discussion on the transformation of landed households into wage-dependent ones, she details the encounter between traditional, culture-specific forms of income management, based on jointly-held property, and capitalist ideologies of wages as ?belonging? to the individual. The growth of the wage economy and the rise of the Bengali Hindu middle class (bhodrolok)?not an industrial bourgeoisie but a class of bureaucrats and professionals, in service of ?the demands of imperial capital??precipitated a huge ideological clash which shook the very foundation of Bengali households and families.
This transformation, part of larger historical processes, un-made a distinct way of life, only to re-make it along the contours of modernising (this includes capitalist) aspirations and material realities. In the case of the Bengali Muslim middle class, as I argue later, it extended to equally radical changes in marital forms: marriage was re-defined as being strictly monogamous, it was imbued with new meanings of being a civilising force in society.
To return to Standing?s work: drawing on her own research, and that of others?, she says, the Bengali middle class sustained rural-urban links through the joint family. A village home was maintained for several generations, and income was pooled into the joutho bhandar (common fund) from landed rents and the salaries of family members who were professionally employed. Ghor-bahir division was strictly enforced, men were assigned to the external economy, to culture and politics, and women, to the internal organisation of the household. The senior-most married woman had authority, which derived from the age and kinship hierarchy. She was in charge of the common fund, she paid servants, gave gifts, carried out charitable obligations. Young married women had authority only if there were no older married women in the household. Ghor was women?s arena and, generally speaking, men were absent here.
Families centring around jointly-held property subscribed to distinct ideologies of redistribution of financial resources. Both land and money income, from whatever source, was vested in the kinship group as property-in-common. Members were entitled to funds on the basis of their personal needs but this did not mean equal access, or equal rights. Women held inferior rights to landed property. Hindu widows were expected to eat little and only vegetarian food, to have few items of clothing. Claims to family and household resources were determined not only by considerations of gender, but also by the kinship status of its member.
In capitalist economies, Standing says, the wage is associated with an ideology of personal appropriation. It ?belongs? to the wage earner. He has the ?right? to use his earnings for himself; dispensing it to ?his? dependants?his wife and children?is something personal. Occupational achievement is individual. The ideology of the wage emphasises ?private accumulation, personal achievement and personal ownership? through ?individuating mechanisms? like banking, savings, and insurance policies. The introduction of the wage, and its accompanying ideologies of personal belonging and appropriation, she writes, created deep divisions and conflicts over ?earners? and ?non-earners?, ?productive? and ?non-productive? members. Degrees of dependency emerged within the wider household collectivity: male non-earners became defined as ?idle?, a burden to their earning relatives, while the conjugal tie increasingly moved centre-stage and began to pre-empt or challenge the claims of other family members to household resources.
Two official documents express the colonial government?s discursive and regulatory concern with the nature of the family. The first faults women for the demise of the joint family:
Devoted to their husband?s interest, the wives are jealous of their earnings being used by others, particularly by those who do not contribute to the family income. More petty feelings, less disinterested motives, such as the mutual jealousy of the brothers? wives, the quarrels of their children, etc also contribute to the breaking up of the family. (Government of India 1913, Census of India 1911, vol V, part 1, pp 50-1).
The second acknowledges ruptures in the principle of non-differentiation between family members on the basis of their ?earning capacity?. Standing says it also reveals the extent to which ?narrowing definitions of dependency? were coming into effect:
Many correspondents commented on the fact that the presence of a widow in a family was always welcome because she would cheerfully undertake the drudgery of the family whilst the extreme self-denial expected of a Hindu widow makes her support very little of a burden. But where she is unprovided for and has children there are bound to be heartburnings on account of the differences in the treatment which her children and those of her husband?s relatives receive. (Government of India 1933, Census of India 1931, vol V, part 1, p 402).
That a man should feel ?less responsible? for his deceased brother?s widow than his own wife, or a woman should consider her sister-in-law?s children as ?less deserving? than her own, are not, Standing argues, ?natural?, or ?inevitable?. On the contrary, they are the result of complex social and historical processes. These processes simultaneously laid a new emphasis on the role of wife as ?housewife and manager? of the allowance given to her by her husband, one that was framed by newly-forming ideas about women as being nothing more than mere housewives. Grouped together with ideas about women as ?consumer and conveyor? of new values and attitudes, these were ?essential? to the ?reproduction of the new middle class?.
Similar processes were at work among Bengali Muslims, albeit somewhat later. I realised this both during and after conducting field-work based research (shelved) in the early 1990s. It was something of a shock because I had been brought up to believe that Muslim notions of property and inheritance were vastly different to that of Hindus. In ?ours? property was individually owned and divisible, while in ?theirs? it was jointly held. This was reinforced by my own childhood experiences, based as it was on nuclear family living. I was born in the mid-fifties, my father was a government employee in what was then West Pakistan, and I grew up far away from uncles, aunts, cousins and extended kin, except for a brief three-year period that was caused, in officialese jargon, by my father?s ?transfer? to East Pakistan, in the early 60s. But I must not be too harsh on myself. My life in independent Bangladesh from 1972 onwards, and knowledge about Bangladesh society and culture that I gained later?through studying at the university, conducting research, being part of intellectual/activist circles?had led me to believe that the pooling of family income was a mere ?cultural? practice (for instance, similar to marriage rituals like gaye holud), that it was optional, since we were, after all, governed by Muslim laws. This was, and still is a commonsensical assumption in learned circles and, I contend, is a result of not seriously engaging with the nature of colonial rule, and the manner in which colonialism, to paraphrase Talal Asad, has destroyed old options, and constructed new ones, and set into motion historical trends that are ?irreversible?. More recent research persuasively argues that in the interests of controlling and regulating the lives of its subjects, the British colonial state had codified ?the laws of the Koran? for Muslims, and the laws of the Brahmanic ?Shasters? for the Hindus. It was the colonial state?s application of Muslim law through its new system of courts that enabled Muslims to freely decide, or compelled them to order their affairs, in accordance with the principles of Muslim family law.
My fieldwork based research on the Bengali Muslim middle class had gathered family and household data of both the present and 2-3 preceding generations. I had also read autobiographies and autobiographical essays written by first, second, and third generation middle-class men and women: Tamizuddin Khan (1889-1963), Principal Ibrahim Khan (1894-1978), Abul Hossain (1897-1938), Kazi Motahar Hossain (1897-1981), Abul Mansur Ahmad (1898-1979), Abul Fazal (1903-1983), Dewan Mohammod Azraf (1908-1999), Abu Jafor Shamsuddin (1911-1988), Syeda Monowara Khatun (1909-1981), Sufia Kamal (1911-1999), Kamruddin Ahmed (1912-1982), Akhtar Imam (b 1917), Jobeda Khanam (1920-1990), Umratul Fazl (1921-2005), Zobaida Mirza (1923-1993), MR Akhtar Mukul (1929-2004), Anisuzzaman (b 1937), and that of many others. My own fieldwork data, the autobiographical accounts, and also the critical scholarship that I cite above, have convinced me that before British colonial rule, jointness was family, that this was equally true for both Hindus and Muslims. Its historical ?traces? are to be found in the autobiographical writings. In these, while presenting and interpreting their life experiences, some of the men and women speak from a sense of bewilderment and loss at rapidly-dissolving priorities, while others focus on a newly-emerging set of personal and familial commitments, suitable and appropriate to the demands of a new social order. In the novels of writers like Mohammad Najibar Rahman (1860-1923) and Kazi Emdadul Haq (1882-1926) one comes across fictionalised accounts, often justificatory, of the social changes that were rapidly becoming inevitable.
My fieldwork data and the autobiographical writings I cite above, reveal something else. The growth of the wage economy had not only made kinship dependencies among Bengalis problematic, as Standing argues, but that in the case of the emerging Bengali Muslim middle class, it was accompanied by decisive changes in the form of marriage. The previous ?system? of marriage included monogamy, serial monogamy and polygamy. It was marked by flexibility (I do not use this word in any value-loaded sense). The new system, one that grew out of social upheavals accompanying middle-class formation, was strictly monogamous, it idealised marriage as involving ?commitment for life?. This was essential to the middle class? collective sense of self, that of being civilised, and of being a civilising force in Muslim society.

Colonial ?traces?: a civilised marriage as crucial to class identity

I have argued in an article published elsewhere (The Journal of Social Studies, 1999) that colonial representations of the status of Muslim women had a determining character in the imaginings of female emancipation. Colonial narratives essentialised ?Muslim?-ness; simultaneously, it ascribed Muslim women?s poor and miserable condition as being a consequence of ?seclusion?, and ?polygamy?. Both were regarded as archaic and barbaric, as being incongruent with modernity. Bengali Muslim intellectual forerunners largely accepted British characterisations of purdah and polygamy as essentially Muslim, that is, specific and universal to Muslims. Women?s freedom and emancipation was primarily imagined as doing away with seclusion and polygamy. These discourses constituted middle-class identity?its subjective and collective sense of self?which distanced its members from the uncivilised (o-shobbho), the ignorant, the large masses of poor, whose marriage practices in emerging middle-class discourse became characterised as kono thik-thikana nai, kokhono ere dhore, kokhono tare ccharey (?their marriages lack substance, living with this one here, casting off that one there?).
Gradually, marriage became binding and obligatory in new ways. It came to signify men?s worth?in their individual capacity, as a husband?as economic actors. New social concepts emerged, a husband was defined as one who had the ability to ?raise? a wife (bou palar khomota). This helped to infantilise women as wives, it lent credence to the idea that housework was not laborious, that a woman was a ?mere? housewife. The new wife was re-defined as a moral person, her task was to re-construct marriage, and the home, as a sexually sacrosanct space. Marrying-for-life was linked to notions of female sovereignty and freedom. Nowsher Ali Khan Yusufzai?s phrase (1890), although (mis-)directed at marriage practices among the Muslim aristocracy of his time, captures this beautifully: ?two lionesses cannot live in the same forest? (ek oronne dui shinghinir baash kokhonoi shombhobonio noy). Marriage no longer meant belonging to a wider collectivity, instead, it was re-defined as being an exclusive conjugal bond. This was reflected in changed modes of referring to one?s wife, instead of apnader bou, ?your daughter-in-law?, to ?my wife?, amar bou. Corresponding changes were to emerge in women?s choice of words: her husband was no longer ?your son-in-law?, apnader jamai but amar husband. Children too came to belong to their parents, amar cchele, amar meye. Earlier practices of addressing one?s wife, as Laila?r ma, or Abuler baap, have become the language of poor, uneducated people, people not conscious of their worth as individual persons. As a marker of civilisational status, it has become uncivilised, if not loathful, for modern Bengali Muslim women to voice the opinion that a co-wife means a co-sharer in domestic work. (Except, of course, as a joke). These new meanings of marriage coalesced with other ideas?education, science and rationality?and became central to class identity. They contributed to feelings of moral superiority, to the notion that providing leadership, social, political and intellectual, was a natural right of the educated classes.
I now come to the present. A general point that I would like to raise is that, progressivists, secularists, developmentalists, those belonging to the women?s movement, and also, members of the left?mostly, overlapping schools or ghoranas of thought?uncritically accept middle-class practices and ideas of marriage as being emancipatory for women, as a mark of progressiveness, as superior (?Class struggle is a struggle over morals.? Surely the words of the historian EP Thompson, famed for his ?history from below? approach? But I seem to have misplaced the reference). Uncritical acceptance on the part of the women?s movement in Bangladesh is understandable?although not acceptable, as most organisations claim to represent ?all? women?since it largely subscribes to, what Meghna Guhathakurta has described as a ?development[alist] outlook on the women?s issue?, one that she is quick to point out, is ?a-historical? (2003). This raises several problems, but let me say at the outset that what I refer to as ?the? women?s movement in the singular, is actually heterogeneous, comprising various organisations and groups with different aims and objectives, and different histories of action. However, notwithstanding these differences, I still think that the broad outlines of my critique are valid.
First, by not examining the class-ed basis of monogamous marriage, the movement is unable to conceptually deal with the issue of female subjection within middle-class marriages. To express it somewhat differently, it is ill-prepared to conceptualise modern forms of women?s subjection, since the unquestioned assumption is that modernity per se is a historical condition that emancipates women, or moves them forward, closer to emancipation. Unlike the ?backward? essence that characterises the condition of women, particularly, in Muslim societies.
Second, by not examining the class-ed basis of monogamous marriage, it is able to operate on the notion of a ?universal? (national) female experience. What is specific to class gets generalised across all classes: monogamous marriage is in all women?s interest, and equally so. It ensures security for all women, and equally so. Subaltern marriages, in my eyes (I say this tentatively, in the absence of serious research), are flexible, they combine monogamy, serial monogamy, and polygamy. Of course, processes of impoverishment, eviction from rural land, uprootment, severe unemployment and the inability to provide for oneself and one?s family members hit both poor men and women. And, of course, there is an undeniable gender dimension: wives, who have even lesser claims to social resources than their husbands, are often deserted and left to fend for themselves and their children. However, despite contemporary social processes of impoverishment and pauperisation (?the beggary of labour?) and their impact on marital stability, I still think that subaltern marriage practices and ideas are distinct and thereby, analytically separable, from that which exists among the privileged classes. To reinforce what I have just said, I think that ideas and practices of marriage in Bangladesh, and its history, is fundamentally different in class-ed senses. The women?s movements? unexamined rooted-ness in, and loyalty to class ideals, accomplishes several things. It perpetuates the idea that subaltern marital practices are a ?social evil?, in need of correction. By isolating marriage from its class-ed history, and from class-ed realities, it also, in effect, puts the cart before the horse. After all, under capitalism it is not the practice of a strictly monogamous marriage that will ensure poor women a home and three meals a day! The movement?s emphasis on legal reforms helps to ?obliterate? material differences, and the unequal strength to counter dominant ideologies, that exist between women. Through this process, the issue of equitable distribution of social resources, and the fight for social justice gets sidelined.
Third, the movement?s inability to historicise marriage by placing it within the broader context of love, sexuality and family formation means that, by default, it takes up a socially prescriptive and prohibitionary role. That hijras were a part of traditional social life, visitors at each childbirth in the locality, has been relegated to the margins of middle-class understandings of sexual differences. I remember asking a young man who belonged to one of the small campus-based left groups, ?What will happen to transgender people after the revolution?? His answer was immediate, ?They will be surgically operated on.? That all hijras might not want it was not at issue. (Let alone the fact, that small, but increasing numbers of men and women, in other words, those not born as hijras?are willingly undergoing sex change operations, mostly in Western countries, but also in neighbouring India, and that this bespeaks of a social phenomenon that should compel us to re-think our ideas). Hijras are an abnormality, in need of correction. I have come across similar ideas among women belonging to the movement, ideas that are based on compulsory heterosexuality, but un-acknowledged as such.

Other marriage histories: at the margins

I now turn to ?other? histories of marriage, in particular, to a specific practice of marriage developed and practised by Naxalites, the pro-Maoist trend of the communist movement in Bangladesh, committed to capturing state power through armed struggle. Nesar Ahmed has performed an invaluable task by interviewing women who were active in underground Naxal politics in the 1970s. The tape-recorded and transcribed interviews have been published in Jibon Joyer Juddho (2006).
In 1970, the East Pakistan Communist Party (Marxist-Leninist) presented itself as the East Pakistani counterpart of West Bengal?s Naxalites. After committing itself to a programme of organising guerrilla action against class enemies in the countryside, the party went underground. Purbo Bangla Communist Party (Marxist-Leninist) was also committed to a similar programme of armed struggle; in popular usage, its members were known as ?Nokshali?. Many of the leaders, and a large number of its followers, both men and women, came from the middling ranks of rural and mofussil society.
The interviewed women (they include both Muslims and Hindus) speak of their family background, why, as women, they were particularly drawn to ?the? party, what they read and discussed in study circles, and of other experiences too: leaving village homes to join the class struggle, the nature of ?their? party activities, participating in armed action, getting married and giving birth to children, giving them away to be raised by poor families supportive of the party?s ideals and programmes, leading ?hidden? lives in party shelters, and the hardship of living on meagre amounts doled out by the party to its members. They also speak of familial, marital and employed life after the party renounced its programme of armed struggle in 1979, in their words, after they returned to ?social life?. Several of the women interviewed were party members whose husbands had gone underground while they struggled to earn a living, run a household and raise children.
Nokshal marriages too, were strictly monogamous, but in other aspects, they differed significantly from dominant Bengali Muslim middle-class practices. I read and re-read the interviews, motivated by my desire to gain an understanding of the politics of marriage in Bangladesh.
This is what I glean and put together from the interviews: the ceremony itself was simple. Several party members would be present. The marriage document was a written piece of paper drafted by party office-holders (women referred to it as ?the form?), the names of the two members to be married were written down. Party members, including the couple who were to be married, would sit and discuss party ideals. At the end of the discussion, they would vow to remain committed to these ideals, even after marriage. Marriages (bie. In Bangla, no distinction is made between a ?wedding?, the ceremony, and ?marriage?, a social relationship) were generally held in ?shelters?, i.e. village homes of local party sympathisers instead of being held in the bride?s home, as is the general custom among Bengali Muslims and Hindus, where her father and senior kinsmen give her away to the groom and his family. After exchanging flower garlands, they would shake hands and sign on the party form. The couple were then pronounced married.
Generally, a meal followed. Aruna Chowdhury, who was a matriculate when she joined the party says, ?We ate gur (molasses, brown sugar) and bread, that?s all we had, bas, that?s it.? She adds, ?My wedding was an ideal one. I was wearing an old sari, torn in places.? Dipti, a fulltime worker and a cell member, got married slightly better-off than Aruna. ?Comrade Wajed?s wife was present, as my friend. She went and bought me a sari, a petticoat, a blouse, oh, it was just a simple cotton sari, and a bar of soap.? But some of the meals were not as austere. As Aruna recalls, ?Some marriages were ?gorgeous? affairs, cows and lambs were slaughtered. The village people arranged everything, at least that?s what they said. Well, I said to myself, obviously people don?t love us as much, we are not big leaders.? Reflecting on these tangible differences, she says, it?s like the ghost stories you hear as a child. You grow up and read about science, about science fiction, and you know it?s not true. But still, when you return home at midnight, just beneath the mango tree, you feel scared. That?s what marriage is like. Us Bengalis, we start dreaming about getting married right from childhood. Materialism helped me to get rid of these ideas.? She adds, ?I?m not angry about those gorgeous marriages. They did take place, that?s why I bring it up.?
Naxal marriage deviated from earlier traditions which insisted that revolutionaries should not get married, a heritage shared by the communist parties of undivided India. Earlier, said Aruna, the Party had been ?rigid? on matters of love and marriage. ?But when we entered the Party we discovered that political marriages were taking place. Party workers were marrying other Party workers.? Ismat ara Rita, a 17 year-old matriculate who went underground to escape her father?s pressure to marry, to prevent her from entering revolutionary politics says, marrying within the party was particularly necessary for women. ?There was no question of women Party members marrying outsider men. After all, this is a patriarchal society, and men do have some influence on us.? Men too, she maintained, married only women party members, a wife who was not ?attached to politics? would have led to problems at home. But there were exceptions, as other interviews reveal. Aroja Begum?s husband was not a party member. ?He didn?t understand these things. But he never said no to what I did.?
Party-based marriages underwent a strict vetting procedure, casting party leadership in the role of ?guardians?. Dipti recounts her experience: ?Comrade Zakir Hossain Hobi was in charge of the district committee. He asked me one day, he said, if you don?t have any objection then I will forward a proposal to the Party.? Dipti, who had faced unwarranted proposals from other party comrades, to the extent of suffering a near-mental breakdown (?I had come to do politics?), had finally decided to get married. She says: ?I agreed. After that, the district-level Party said, okay, let?s see. By then I had been assigned to work in Kaliganj. I began working there, and I was told, you will now be tested. When Hobi asked the district committee for their opinion, they said, the time is not ready yet, we will think about it. During this period of testing, I was assigned to Chuadanga, in charge of the Party?s cell, while Hobi worked in Kaliganj. We were asked to not meet each other, nor write any letters. This was the test, they said. This continued for a year. After that, they finally gave their approval. They were convinced that we really liked each other, that it was not a mere infatuation. They said we could get married.?
The Naxal form of marriage was political in other senses as well. The marital union of two people was approved by the party on the condition that their commitment to politics?revolutionary party politics?overrode all other commitments. Further, it did not conform to legal definitions, and side-stepped religious conventions. These ideas seem to underlie a question that Nesar Ahmed asks Rita. ?Conventional marriages are performed by moulobis and moulanas, it lends them sanctity. That?s a common sentiment. But your marriages were different. How did the general public react to it? How did they view it? After all, marriages mean kolma-kabin.? She did not respond to the question on public reaction, but instead spoke of how her party had viewed it. ?The Party?s sentiment was that this kind of marriage was ?better?. It is similar to registered marriages that take place before the kazi because even though the word kobul is not uttered, it is ?written?.? She added, ?This is an advanced-modern era, Party marriages were seen as fore-runners to marriages of the future.? Her words had a ring of history.
With the renunciation of the politics of armed struggle in 1979, the distinctive marriage ?system? developed and practised by the Naxalites was abandoned. Women comrades were asked to return to their families, or to marry and settle down. Thus began, what Nesar Ahmed terms, the ?domestication? and ?house-wifisation? of Naxal women. But not all Naxal women agree with him. ?There was no other option.? The party was organisationally shattered, many of its members were either dead, or imprisoned. As one of them put it: ?The Party?s decision was right. If it had been otherwise, women comrades would either have been killed, or forced into prostitution. The Party?s policy of armed struggle, of annihilation of class enemies meant that…, well, we had created enemies in our own villages.?
I do not wish to pursue the question of whether the party?s decision was right or wrong. Instead, I want to turn to Ismat ara Rita?s words, ?this is an advanced-modern era.? I want to place these in the context of the tradition-modernity framework that frames women?s rights issues in Bangladesh, one that is conceptually unable to deal with the issue of colonial power. I discuss work that does, so that we can know ourselves better, and more critically. In the section after that, I return to Nesar Ahmed?s words, ?Marriages mean kolma-kabin? because I want to delve deeper into the institutional moorings of marriage?into the legal definition, and religious conventions prevalent in Bangladesh?and the ideas through which compliance to legal inequalities is secured. Here, I turn to my own personal history, to an incident which I think can be teased out to unravel processes of subjection that are at work.

Colonial-modernity: processes of Islamisation

The women?s movement in Bangladesh, as I said earlier, is intellectually ill-equipped to deal with the issue of women?s subjection in modernity. Lata Mani, a feminist historian of West Bengal, in a discussion on sati thinks this is tied to our understanding of colonialism. Regardless of how scholars view its impact on India?s transition from feudalism to capitalism, they all agree that ?colonialism held the promise of modernity,? that it gave rise to ?a critical self-examination of indigenous society and culture.? Even the most anti-imperialist amongst us, she says, has been forced to admit that colonial rule had ?positive? consequences for certain aspects of women?s lives, if not in practical terms, then at least in the realm of ideas about ?women?s rights? (1989).
In Bangladesh, intellectual-activists belonging to (overlapping) schools of thought?left, progressivist, secularist and also those in the women?s movement?subscribe to a simplistic and over-generalised account of women?s history. In some accounts, large periods of history are characterised as unchanging in the ?oppression of women? (?thousands of systems of oppression towards women continued in male-dominated societies for thousands of years,? Badruddin Omar, 2003). Pre-colonial Bengal is often characterised as belonging to ?the dark ages of medieval history? (Ayesha Khanam, 1993). These highly emotive accounts of history are inter-woven, they feed into each other, warding off attempts to gain a critical understanding of the nature of colonial rule, more specifically, at the colonial government?s codification of laws (in the case of Muslims, Qur?an and al-Hidaya, whereas in the case of Hindus, specifically Brahmanical interpretations of the Shasters), and its use of legislation as a technique of ruling.
But before turning to that, I will look at pre-colonial society, at the principles of social organisation in rural areas that prescribed marriage, family life and household formation. Talal Asad, in a study of the Punjabi Muslim family, has argued that ?differences in the forms of family organisation? of rural Hindus and Muslims during Sikh rule were ?negligible, or non-existent,? and that Islamic laws (Hanafi) were only followed by Muslim communities in urban centres, characterised by a market or money economy.
Asad writes, in pre-colonial villages of Punjab, rights to landed property were distributed in accordance with definite principles within a precise kin group. It was, in a certain sense, ?owned? by a lineage, but held and worked by the joint family. It was the joint family, as a whole, that comprised the work and consumption unit. The head of the local descent group (equivalent to Bengali notion of goshti) was the undisputed controller: all members together formed a single economic and legal unit. The oldest male member was its head. If relations between sisters-in-law grew strained, a separate hearth might be set up, the wife then would prepare meals for her husband and children separately, but food rations would still be taken from the common stock (the joutho bhandar). However, no changes took place in farm work, and male members continued to till the land together. Marriage was an affair that involved the entire joint families of bride and groom. It did not mean the setting up of a separate hearth, on the contrary, the daughter-in-law was inducted into the joint household. Bride-price (in Bengal, pon) was given by the groom?s family to the bride?s; with its transfer, the wife belonged to the husband?s joint family. A widow, whether chaste or co-habiting with her deceased husband?s brother (debor) or a patrilineal cousin was entitled to life-long maintenance, losing this right only if she were to re-marry outside the descent group.
The colonial state, argues Asad, initiated a ?process of Islamisation? by gradually applying the principles of Islamic law which meant that Muslims now either ?decided, or were compelled by the courts, to order their affairs in accordance with the principles of Muslim family law.? One of the results was that women, as widowed daughters-in-law, lost their customary rights to maintenance by their in-laws.
Michael Anderson in his article, ?Islamic Law and the Colonial Encounter in British India? (1990), draws on more recent theoretical tools that help us to appreciate what happened in the early stages of colonial rule. The colonisers, he says, were perplexed at the multiplicity of local customs and practices, at the many forms of legal authority that existed. In their ?quest to establish a definable and reliable relation between government and the governed,? they found a solution in law, and legal texts. Anglo-Muhammadan jurisprudence was born in the first century of colonial rule. I quote from Anderson:
The Hastings Plan of 1772 established a hierarchy of civil and criminal courts, which were charged with the task of applying indigenous legal norms ?in all suits regarding inheritance, marriage, caste, and other religious usages or institutions?. Indigenous norms comprised ?the laws of the Koran with respect to Muhammadans?, and the laws of the Brahminic ?Shasters? with respect to Hindus. Although the courts followed British models of procedure and adjudication, the plan provided for maulavis and pandits to advise the courts on matters of Islamic and Hindu law, respectively. By the early nineteenth century, the system of courts had been expanded, a new legal profession had been established, and a growing body of statute and court practice extended the influence of the colonial state.
It was through colonisation that we began to lead lives commensurate to the demands of a modern state (more apt would be, what Asad terms elsewhere, the ?modernising? state). The distinguishing feature of a modern state, he says, is that instead of being a dominant segment of society, it becomes ?the dominant mode of organizing its life? through the momentous new categories of ?public? and ?private?. In the modern state, the social conditions of one?s existence, including their relative advantages, are determined within the domain organised as the state. The Law is one of these conditions. And this is why, it is only in the modern state that one comes across ?struggles within and about various legal categories that constitute working-class politics, the politics of gender, the politics of sexuality, and the politics of procreation.? (1992). In the case of India, as Anderson points out, it was through the legal techniques of colonial rule that the category of ?Muslim?, often ?Mohammedan?, acquired ?a new fixity and certainty,? in contrast to previous identities that had been ?syncretic, ambiguous or localised.? Each individual was now linked to ?a state-enforced religious category,? litigants were now ?forced to present themselves as ?Muhammadan? or ?Hindu?,? as courts struggled to accommodate diverse social groups within these two categories. The colonial mode of governance also transformed personal law into a ground for organised political struggle, it helped to mobilise a Muslim identity that was opposed to colonial rule.
And, I add, it was colonisation and its legal technologies that created the conditions for older inequalities to give way to ?specifically? Muslim inequalities, inequalities that became ?state-enforced? in the lives of Muslim women.
Next, I return to Nesar Ahmed?s words??marriages mean kolma-kabin??to examine the institutional and ideological processes that are at work to secure these meanings. In that section, amongst other things, I also look into how diverging trajectories of legal and political development has borne different consequences for women, as the case of Bangladesh and Pakistan post-1971 illustrates. As Asad informs us, the modern state (in our case, a ?modernising? one) encroaches into areas of social life that were previously unregulated. In the case of Pakistan, state encroachment, and thereby its power?in the form of legislation?has brought into effect a particular variant of Islamic interpretation of sexuality and marriage (as enacted in the Hudood Ordinance 1979), to regulate the lives of Muslim women in Pakistan, with the application of ?brute force?.

?Singular? meanings: marriage as kolma-kabin

?Kolma? and ?kabin?, as used by Nesar Ahmed, seem to me to be deeply embedded in two different binary oppositions. The notion of a ?kolma marriage? indirectly draws on progressivist debates on religion vs. secularism. A ?kabin marriage? (short for kabinnama) signals government prescribed forms for registering marriages as opposed to the marriage agreement drawn up in Naxal marriages, one drawn up by party officials, that the women had referred to as ?the form?. The kabinnama can be looked at as an instrument of marriage; a part of the administrative and bureaucratic procedure which enforces religious belonging, and corresponding practices, among Muslims in Bangladesh.
Let me add a few more words about the kolma aspect of a marriage: Since marriage in Islam is a purely civil contract, and no specific religious rites are necessary for the contraction of a valid marriage, the verses that the moulobi, or kazi (Marriage Registrar), or any man well-versed in religious norms and practices, chooses to recite from the Qur?an are left to his discretion (usually Fatiha and Durud). Now, on to the kabinnama (variously referred to as the ?marriage document?, or the ?marriage contract?). Generally speaking, it means the Marriage Registration Form prescribed under The Muslim Marriages and Divorces (Registration) Act 1974, which provides for the licensing of nikah (marriage) registrars. Registering the marriage can either take place on the occasion of marriage itself, or the married couple, accompanied by their family members, can later go to the Kazi Office to get it registered. The kazi?s task is to maintain the registers of marriages and divorces, and provide an attested copy of the entry to the parties. An earlier act, the Muslim Family Law Ordinance, 1961 had made registration mandatory; in case of violation, the Marriage Registrar could be liable to punishment through a prison sentence and/or a fine.
Failure to register, however, does not invalidate the marriage. As a High Court judgement states, ?registration is not essential in order to prove the validity of the marriage, and nor is a written kabinnama [essential], if the marriage is otherwise valid? (Bangladesh High Court, March 3, 1998). ?Otherwise valid? would imply that there should be an offer and an acceptance of marriage, the document should be signed by both parties to the marriage in the presence of two witnesses, the groom should not be less than 21 years, and the bride should not be less than 18 years.
Registration may not be essential to prove the validity of a marriage but in cases of dispute, non-registration can, and does, create a host of problems since women have no ?proof? of marriage, essential to asserting their lesser rights within marriage, and to divorce, guardianship, custody of children and inheritance. Hence, women?s organisations and/or NGOs which provide legal support to increasing numbers of women, distraught at either being deserted by their husbands, or at his having taken on a second wife, or not providing maintenance within marriage, etc have demanded, in the interest of ensuring further protection of women?s rights within marriage, that the system of registration be strengthened, that it be made compulsory for all citizens. Its legislation is an important part of the Uniform Family Code (UFC), drafted by the Bangladesh Mahila Parishad, the largest women?s organisation, with the assistance of Ain O Shalish Kendra, which provides legal help, dispute resolution service, and counselling to women in need. The UFC is aimed at protecting the rights of Bangladeshi women of all religions?in matters related to marriage, divorce, custody, alimony, and the inheritance of property?and is said to ?fully comply with the provisions of CEDAW? (UN Convention on the Elimination of All Forms of Discrimination against Women. The passage of the UFC has been twice stalemated, once in 2005, when the Law Commission appointed by the government to review the proposal stated that Muslim laws are based on ?the Qur?an as a revealed Book,? that its acceptance would lead to the Muslims of Bangladesh rising ?in revolt as one man [sic].? And again this year, when a section of Muslim clerics and some Islamic parties protested against the Women?s Development Policy (of which UFC is a part), on the grounds that the proposed reforms ?violate the Sharia law on inheritance.?
Generally speaking, marriage registration is on the rise. It is now a norm among the urban middle class. It also seems to be rising in rural areas, as a recent study of six villages reports: the marriages of eighty per cent of women below 25 years of age were registered, in contrast to only forty-two per cent registration of older marriages, women aged 45 and more. (Lisa M Bates, Farzana Islam et al, 2004).
But the administrative apparatuses of modernising states are not as efficiently regulatory as are those of older Western states, susceptible as the former are to corruption, to the misuse of public power for private gain. In Bangladesh, instances do exist of Marriage Registrars leaving a couple of pages blank in their register books, only to sell later at a ?high price?, to someone in urgent need of a ?backdated? marriage. As happened in the case of ex-President HM Ershad. Bidisha, his later wife, now-divorced, writes in her autobiography of how a Keraniganj kazi had been able to rustle up such a blank page since Ershad had been concerned to ?prove? to the nation at large that their son, was born in, and not out of wedlock. Ershad, she adds, had constantly grumbled about the exorbitant amount that the blank page had cost (2008).
?Marriages mean kolma-kabin,? and I return to these words of Nesar Ahmed now. Naxal marriages were regulated and controlled by the party, they were shaped by underground living and revolutionary ideals, but not, in contrast to dominant practices of marriage, enforced through administrative and bureaucratic procedures of the state. Marrying, for Naxal women, I contend on the basis of their oral life histories, was a political act. What does marriage mean for the middle class in general, and more particularly for its self-consciously thinking sections? I explore this question drawing on my own personal history, and on critical theoretical literature that I have discussed above. I hasten to add, my ideas are provisional.
Bengali Muslim middle-class marriage, to draw on what I had said earlier, cannot be separated from its class history. Both consciously and unconsciously, members of this class draw on means of ?othering? to mark their own practices as distinct: a polygamous marriage is its ?other? (viewed as essentially Muslim), the flexibility inherent in subaltern practices is its ?other? (kono thik-thikana nai). Now the interesting thing is that although polygamy is legally permissible (albeit subject to restrictions under MFLO 1961), it is not so for the middle class, either in terms of ideology or as a normal practice. Polygamy and other inequalities towards women that are a feature of Muslim Personal Laws in Bangladesh are anathema to the self-consciously thinking sections of society. This, I think, is partly expressed in the struggle for the UFC, which proposes to ban polygamy, declare it illegal, and a punishable offence (a polygamous marriage will not be registered). It also finds expression, I think, in the slogan that emerged in protest against the constitutional amendment of the Ershad government that made Islam Bangladesh?s state religion (1988): ?jar dhormo tar kacche, rashtrer ki bolar acche?? (to each his/her own religion, why should the state dictate?). Although the sections that had united under this slogan at processions and rallies had been small, the underlying notions of freedom and privacy that it upholds has a much broader appeal among large sections of the middle class. I now turn to my personal history, but before doing that let me brush up my question further, the one that I seek answers to: how is compliance secured to unequal laws among the self-consciously thinking sections of society?
In 1988, Shahidul Alam and I decided to share our lives, but I could not reconcile myself to getting married under a set of laws that discriminated against me as a woman. It was the inequality in the marriage laws?divorce, rights over children, inheritance, the issue of den mohor, ?why should I take mohorana from Shahidul?? ?why could he have four wives and I only one husband at a time???that angered me. Shahidul too, was troubled at the prospect of being invested with greater powers (over me) through becoming my husband, powers that were unequal and legally enforceable. I debated options. I remember that a close friend, a feminist herself, advised me to go abroad and get married. I refused. ?But that is out of the question, we are Bangladeshis.? I remember her reply, ?But why are you so worried anyway? I am sure Shahidul will not exercise his powers as a husband. I am sure you have nothing to worry about, he is not that kind of a man.? I remember that I was silent, that I did not retort, ?But how do I know? How can I know? And if I do find out, won?t it be too late?? I have no doubt that her advice was offered in all sincerity, as one expects from close friends. A simple answer would be to brush it off as an ?elitist? response, but I want to probe deeper. (How Shahidul and I eventually resolved ?our? dilemma is another story. I will not enter into that. No, not now).
Over these last twenty years, as I have observed intelligent and thinking people, whether belonging to the left or the women?s movement, and/or progressivists and secularists, get married under an undeniably unequal set of laws, I have mulled over her words, and wondered: how is a willing compliance to the laws of marriage ensured, particularly among a class of people who consider their ?others? to be religious and superstitious, leading un-progressive lives, lives that are ?dictated? by social norms, forever lagging behind in the task of re-constructing themselves as modern citizens. How is it linked to property rights? Is it reducible to property rights? Or, do we need to pose a different set of questions? I insist that I raise these questions motivated by no other desire but to understand the politics of marriage.
In his more recent writings, Asad has spoken of how ?beliefs? have become detached from social practices, of how they have become ?a purely inner, private state of mind, a particular state of mind detached from everyday practices.? (1996). He has also spoken of secular modern ideas of freedom, of ?the illusion of an uncoerced interiority? (2007). Is that where I should be seeking answers to my question? Is marriage now purely personal and private? Is that why struggles over marriage?for the liberal sections of society?take place in the arena of legal reforms (lobbying, applying pressure politics), and not in a contesting terrain of social practice, of politics?
In another sense, middle-class marital practices (strict monogamy is proposed for all, irrespective of religious differences, in the UFO) can be looked at as being similar to Naxal imaginings of its own practices, of being ?fore-runners to marriages of the future? (Ismat ara Rita?s words). Of course, I must add the caveat that progressivist approaches call on a greater extension of the modernising state?s regulative powers (but then, communist states are no different), aided by international conventions, to initiate ?legal reforms from above.? It is interesting to note that the collective self-descriptions of both middle class (?civilising force?) and Naxal marital practices (?advanced-modern era?) subscribe to ?singular?, Westernising meanings. But similar Westernising meanings may be ascribed to other marriages ?at the margins.? As a High Court judgement states: ?Nowadays the obnoxious culture of ?living together? has made its inroad into our society and this is slowly spreading its tentacles undermining our social values and the institution of marriage.? (1999). And of course, here, ?our? social values, and ?our? institution of marriage is assumed to be genuinely, culturally authentic, untainted by the obnoxious influences of other cultures.
?Processes of Islamisation? that were instituted in colonial times through legal techniques of ruling can, and have been, further exacerbated by the modernising state?s increasing encroachment into social life. Pakistan is such a case, where the state?s law-enforcing agencies and its judicial system, in combination with social forces, have employed ?brute force? against the nation?s Muslim women, targeting those who are, as often happens, less-privileged. The drafting and passage of the Hudood Ordinance (The Offence of Zina (Enforcement of Hudood) Ordinance, VII of 1979) was accomplished by General Ziaul Huq?s regime, a strong military ally of the US government. Coupled with the Law of Evidence, it was put into practice in a manner that blurred distinctions between ?adultery? and ?rape?. The effects of the application of the Ordinance, as has been repeatedly highlighted by women?s organisations of Pakistan, have been horrendous for women. Norms and boundaries of permissible sexuality and marriage, policed as they were by religious forces, were empowered by particular interpretations of Islamic notions that were legally sanctioned by the state.
In the case of Bangladesh, in the last decade or more, similar attempts to enforce sexual norms and boundaries permissible in Islam have occurred. Conducted by social actors at the village level, these assaults have been led by religious forces, at times, in a vigilante-like fashion. In all recorded cases, either only women were punished, or they were punished more than the men who were involved in the incidents. One such woman was Dulali.
Dulali, age twenty-five, became pregnant during an extramarital relationship with Botu, another resident of her village. On discovering her condition, her family arranged her marriage to another man. Her husband, on confirming his suspicions that she was pregnant, however, divorced her. Dulali?s family then reportedly called upon local elders to hold a shalish in the matter. At the shalish, Dulali was accused of zina and sentenced to be caned 101 times, to be administered seven days after the delivery of her child. No accusation was made against Botu, the man involved. (Sajeda Amin and Sara Hossain, WLUML Publications, 1996).
The authors add, national women?s organisations intervened and the presence of the police on the day Dulali was to be punished, acted as a deterrent. Later, the villagers denied that the incident of shalish and the pronouncement of fatwa had taken place. Although not punished for the alleged sexual improprieties, Dulali was no longer able to live in the village. In recent years, accusations of zina (adultery/fornication), sentencing them to punishment such as stoning, caning, and, in a particularly horrifying case, burning at the stake, has led to the death of three women. These acts of policing, I would like to stress the point, have been carried out by social forces, (thus far) they have been sporadic and intermittent. Further, these acts were not acts based on notions legally sanctioned by the state, since zina, under Bangladeshi law, is not a criminal offence.

The modern state: policing intimate relations

The modern state polices the realm of ?the intimate.? Large expanses of social life in modern industrial societies, whether capitalist or communist, are governed by a minutiae of legislative and administrative rules that define and redefine the daily conditions in which subjects live.
Western and bourgeois conceptions of morality?specific to Western history?are inscribed in the law. Asad provides us with an instance: Western normative ideas about childhood are that ?sexual excitation? is dangerous to it, that sexuality is proper only to ?adults?. The Criminal Law Amendment Act of 1885, an Act that was the outcome of a successful moral campaign to control prostitution, raised the legal age of consent for girls to sixteen. It enabled the police to gain greater powers of jurisdiction over poor working women and children. Although ideas about children?s sexuality have changed since the late nineteenth century, contemporary British society is marked with a concern to protect children against sexuality. State apparatuses, its functionaries and various professionals (paediatricians, psychiatrists, social workers, police, lawyers, probation officers) are employed to constantly police relations between children and adults. Consequently, these relations, says Asad, become charged with a sexual significance since they are objects of suspicion.
Colonial legal reforms were ?imposed upon the people from above,? they enacted Western social practices and Western morals. It was only after the passage of the Criminal Law Amendment Act that child marriage became an object of moral reform in colonial India. Attempts to abolish child marriage were prompted less by what was said, i.e. to protect young girls from being sexually exploited by older men (after all, a man in his fifties can marry an eighteen year old), than to forbid it in cases where both the boy and the girl are similar in age, let?s say, both are twelve years old. Another instance of Western meanings being inscribed in conformity with Western social practices is provided by reforms of Shari?a rules of marriage. A Muslim man?s right to have four wives simultaneously has been restricted (first wife?s permission is required). In other words, reforms have been conducted which restrict the traditional rights of Muslim men, but not, let?s say, enhance the traditional rights of Muslim women. Thus, no legal reform has enabled Muslim women to contract a polyandrous marriage, i.e. have more than one husband simultaneously.
As I write this section on the policing of intimate relations by the modern state, I am reminded of how these policing powers extend to post-independent Bangladesh. My British friend?s Bangladeshi boyfriend had applied for a fianc? visa to go to Britain, to join her. To convince the immigration officials he had to take their personal letters over to the British High Commission in Dhaka, which were carefully scrutinised for indications of ?authentic? love, to determine whether a visa should be issued.
I am also reminded of how legal concepts that are different to Western marriage practices and its own legal history can, and do, encounter institutional arrogance and resistance in the West. For instance, the Muslim marriage contract?kabinnama in Bangladesh, and nikahnama in Pakistan?has been generally treated by the British system (courts, and authorities, such as immigration and pensions) as a ?pre-nuptial agreement?, a concept that is alien to Muslim law. Is a pre-nuptial agreement legally enforceable, can it be the basis for gaining pension benefits? I am led to believe from researches conducted there that this question has not yet been resolved by the British legal system. As a result, Bangladeshi and Pakistani spouses of British Muslims have suffered, and continue to do so. It has also created grounds for litigation between the parties (Recognizing the Unrecognized, WLUML, 2006).

?What is done in reality?

In concluding, I return to Gramsci, to words that he wrote while imprisoned.
Possibility, he said, is not reality: but it is in itself a reality. ?Whether a man [sic] can or cannot do a thing has its importance in evaluating what is done in reality. Possibility means ?freedom.? …the existence of objective conditions, of possibilities or of freedom is not yet enough: it is necessary to ?know? them, and know how to use them. And to want to use them.?
As I said earlier, I have no answers. ?Answers? as such, can only be the outcome of social and political struggles. And, as the Italian Marxist thinker reminds us, the existence of ?objective conditions? is not enough. One has to know of possibilities, one has to want to use them.
But, there is a price to be paid for waging struggles for freedom in the realm of ?the intimate?, for they challenge a hegemonic moral order, one that is universalising in its reach.
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Originally published in The New Age on Monday the 22nd September 2008.

Family secrets, state secrets

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Rahnuma Ahmed

History is never more compelling than when it gives us insights into oneself and the ways in which one?s own experience is constituted.
Amitav Ghosh, in a letter to Dipesh Chakrabarty
I do not see my life as separate from history. In my mind my family secrets mingle with the secrets of statesmen and bombers. Nor is my life divided from the lives of others.
Susan Griffin, A Chorus of Stones
?We hated it if anyone asked us about her?
?MANY widowed mothers were forced to re-marry, some for reasons of social security,? these were Amena?s opening words when I went to interview her. Amena Khatun works as a conservator and archivist for the Liberation War Museum. She was speaking of their family life after 1971.
Things did not always transpire as intended, she added. Her mother?s second marriage had been short-lived.
My father? He is Shahid Abdul Kader, he had a furniture business, it was new. But by then the war had started, and his friends and workmen had left to fight for liberation. I was a few months old, my other brother, the one younger to me, was not yet born. My elder brother was two and a half years old. I think my father was planning to go away, to join the struggle, but it happened before he could make arrangements for us. They took him away. We lived in Mymensingh, our area was full of Biharis, I think they could sense what was happening, and they targeted my father. Actually, it was a Bengali woman, a razakar, who came and called him. She came and said, so-and-so wants to talk to you. My father stepped out and found a group of Bihari men and women waiting for him. It was May 28, 1971.
My grandmother, it was her, my nanu who raised us. Her struggle was much greater. My mother? Oh, she was very young, only seventeen or eighteen, she hardly understood anything. She was forced to re-marry, this was later, in 1977 or 1978. She had no other choice.
For us kids it was a new experience, we had not seen a man before. My mama was five years older to me, he and my older brother, they were the only men in the house. My uncles came later but nanu didn?t like them, she was worried that they would take us away, put us to work on the farm, that we would have to give up our studies. My younger chacha had wanted to marry my mother but she didn?t agree to the proposal. She said, he was like a brother.
And in the middle of all this, here was this new man, we could tell that he was intimate with her. When he appeared, she was a different mother. Sometimes I think, did we deserve this? If my father had lived, life would have been very different.
By the time my mother gave birth to a daughter, that phase [her married life] was over. That little sister of ours was the most exciting thing that could have happened in our lives, she lit up our home, all our dreams centred around her. We couldn?t think of anything else. We didn?t want to.
But whenever we went to the village, people would say, she was born of your mother?s second marriage, wasn?t she? We hated the sound of those words. Of course, what they said was true, for them it was not unusual. They were just curious, they would keep asking us and I don?t blame them. But I hated it, bhaiya didn?t like it either. My sister? She was too young to understand. But how can you stop people talking, and so we stopped going to the village. We wouldn?t go, hardly ever.
Much later, right before my sister took her matric exams, we were forced to tell her. In a sense, she found out for herself. You see, her friends kept asking her, ?But if you were born in 1971, how can you be this young??
I guess we needed to grow older to come to terms with the truth.
?A dirty nigger?. Racial prejudice and humiliation in the British Indian army
?As a child, I remember hearing only idyllic stories of my father?s life in the British Indian army,? writes novelist Amitav Ghosh, in a letter to historian Dipesh Chakrabarty.
But towards the end of his life, before he died in 1998, my father told me a very different story. During the siege of Imphal, he had turned away from the main battle to confront a South African officer who called him a ?dirty nigger?. After this, other stories poured out, stories of deep-seated racism within the army, very different to the idyllic picture that Amitav had grown up with. He writes, why did my father (and, in some sense, all our fathers) avoid telling us these stories? Speaking of such things must have been difficult, he muses, especially because they were at odds with their vision of themselves as ?high-caste, bhadra patriarchs?. He adds, what may seem to be mere instances of racism were not so, they represented the system itself. Western liberal thought, whether that of JS Mill, or Bentham, or any other nineteenth century British writer, is built on racism, writes Amitav.
His question is: if we reproduce these silences of history, are we denying or abetting in structures of exclusion and oppression?

Post-independence armies of South Asia

Did racism survive the departure of the white colonisers in 1947? Are post-independence armies of South Asia non-racial and hence, non-racist? Is it meaningful to talk of race and racial differences in our cultures?
East Pakistani (later Bangladeshi) scholars spoke of ethnic differences in racial terms. They said, Pakistan?s military commanders perpetuated the recruitment policies of their colonial masters. ?Martial races? ? meaning Punjabis and Pathans ? were over-represented in the national armed forces, whereas the majority Bengali population, and smaller minorities like the Baluchis and Sindhis, were largely excluded. Indian historians maintain, imperial institutions like the army and the civil service allowed particular forms of racist practices, because of their proximity to the ruling race. They also say, racism survived independence. The north-eastern provinces, known as the seven sisters, have been subjected to decades of racist oppression by successive Indian governments.
Is ethnic discrimination in Bangladesh racist? Educated paharis, who have suffered militarily, tell me that ?ethnic discrimination? as a term does not do justice to the horror of their experiences. I was speaking to a young woman whose father was hung upside down for days, and later died a broken man. And to a young pahari man who was detained for several weeks, and was severely traumatised because of what he was made to witness.
Family secrets can be state secrets. Our mothers and fathers need to tell us stories. We need to discover ways of talking about silenced histories. And about the silenced present.
First published in New Age 26th May 2008

1971 as I saw it

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Thirty five year ago, even longer perhaps, just a camera in hand, they had gone out to bring back a fragment of living history. Today, those photographs join them in protest. Peering through the crisp pages of the newly printed history books, they remind us, “No, that wasn’t the way it was. I know. I bear witness.”

The black and white 120 negatives, carefully wrapped in flimsy polythene, stashed away in a damp gamcha, have almost faded. The emulsion eaten away by fungus, scratched a hundred times in their tortuous journey, yellowed with age, they bear little resemblance to the shiny negatives in the modern archives of big name agencies. They too are war weary, bloodied in battle.

So many have sweet talked these negatives away. The government, the intellectuals, the publishers, so many. Some never came back. No one offered a sheet of black and white paper in return. Few gave credits. The ones who risked their lives to preserve the memories of our language movement, have never been remembered in the awards given that day.
35 years ago, they fought for freedom. They didn’t all carry guns, some made bread, some gave shelter, some took photographs.
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(c) Abdul Hamid Raihan
Abdul Hamid Raihan is one such photographer. A.S.M. Rezaur Rahman came upon him through a small interview on television. Unlike many other photographers, Raihan had preserved his negatives. And unlike many researchers, Reza had doggedly pursued. The exhibition, “1971, as I saw it” is not a record of momentous events, but a rare glimpse of what everyday people might have witnessed under occupation and through victory. press-release-english-bangla.doc
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Autograph ABP presents: The John La Rose Talk Series
Documentary Photography & Social Change: Mark Sealy in conversation with Lyndall Stein and Shahidul Alam at Amnesty International UK
Amnesty International UK
The Human Rights Action Centre
17 – 25 New Inn Yard
London EC2A 3EA
6.30pm – 8.00pm 29th March 2007, Phone +44(0)20 7033 1500, Nearest Tube: Old Street, Moorgate & Liverpool Street
In an age where our daily lives have been saturated by images of globalization there has been a revolt by NGOs and arts organisations who are beginning to forge links and alliances to explore new ways of using visual culture to discuss issues that address a human rights agenda in the 21st century. It is in this context that Mark Sealy the Director of Autograph ABP will explore a conversation that looks specifically at the role photography has played in helping to bring global human rights issues to a wider constituency.
Student in Prison Van
A student screams out to friends from a police van at Jagannath Hall, Dhaka University, after a police raid. 31 January 1996. (c) Shahidul Alam/Drik
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Meanwhile Bangladeshi photographers shine at the 3rd China International Press Photo (CHIPP) Contest held in Shanghai from March 21 to 25, 2007
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Former Pathshala student Munem Wasif, now working with www.driknews.com wins the bronze prize in the Daily Life category with a powerful piece showing modern forms of slavery, through his story on the workers in the tea gardens of Bangladesh.
Former student of Pathshala and University of Bolton and currently tutor of Pathshala – Andrew Biraj – wins the bronze prize in the Topical News category with his timely piece about the attempts by multinational companies to take over land of indigenous communities,
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while photographer Shafiqul Islam wins an honourable mention in the same category for his piece on police brutality against women. Biraj and Shafiq are both contributing photographers of DrikNews.
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Meanwhile on it’s independence day, Bangladesh moves towards the final eight in the ICC World Cup! However, while we celebrate these wins and the recent arrests of godfathers and the ongoing cleaning up operations, the new laws curbing public freedom continues to worry. The death of Garo activist Cholesh Ritchil (http://www.drishtipat.org/blog/2007/03/19/urgent-modhupur-eco-park-activist-killed-2/) in the hands of ‘Joint Forces’ makes us fearful of the consequences of absolute power.