DEATH OF ROMEL CHAKMA: NHRC seeks Army?s explanation

DEATH OF ROMEL CHAKMA

NHRC seeks Army?s explanation

Muktadir Rashid | Published: 00:23, Jun 24,2017 | Updated: 00:38, Jun 24,2017

 
 
 
The National Human Rights Commission has written to the defence ministry asking for a Bangladesh Army
explanation for the death of Romel Chakma as a commission investigation has observed that army personnel concerned cannot avoid the responsibility for the death.
Commission chairman Kazi Reazul Hoque told New Age on Friday that a full commission meeting analysed the investigation report and sent a copy of the report to the defence ministry asking for the explanation from the army in the past week.
?We did not get any version from army, so we wrote a letter to the defence ministry based on the recommendation made by the commission probe committee on the issue,? he said.
He said the commission found circumstantial evidences against perpetrators and wanted to know the army?s explanation.
Commission officials said that the commission received the copy of a letter of the defence ministry to the army headquarters seeking their explanation.
The three-member probe body headed by commission member Banchita Chakma, also former Rangamati College principal, submitted the report to the commission on June 11.
Banchita Chakma said that they submitted the report without any version from the army.
She said that the witness accounts suggested that the visually challenged ethnic minority youth was in the custody of the army when he died at Chittagong Medical College Hospital on April 20.
Physicians at the hospital in the medical report observed that Romel Chakma died from kidney infection.
Probe committee members said there were two reasons for kidney infections ? severe internal injuries caused by either torture or major accident.
?We believed Romel was tortured,? said a commission member.
The probe body recorded statements of 15 people including Romel?s family, local police and physicians to examine what happened to the youth but no version from army was available.
The probe concluded that the army in no way could avoid the responsibility for the death of Romel Chakma.
The committee included commission?s deputy director in Rangamati Gazi Md Salahuddin and executive magistrate Tapos Shil from Rangamati district administration.
Committee members said that had approached army zone commander at Nannerchar on May 24 during the inquiry but could got no response.
The field office of army told the probe committee that they would speak if their high ups allowed them to talk.
The probe committee recorded the statement from five police officials who narrated that Romel Chakma was brought to them in a critical condition and that was why the police did not receive him.
The police officials told the committee that Romel did not carry major mark of injuries but he was vomiting and the army personnel carrying him informed police that Romel met an accident.
It takes hardly 10 minutes from the police station to the nearby health complex.
The inquiry found that it took one hour and a half to take Romel Chakma from police station to the health complex. Romel was moved to Chittagong Medical College Hospital where he was admitted under security protection by army personnel.
?We have collected the documents from police station and the hospital,? said a probe body member.
Formed on April 24, the three-member probe body met with Romel?s family and local people at his village Purba Hatimara under Burighat union of Nannerchar on May 1.
On April 6, Romel?s father Binoy Kanti Chakma wrote to the commission chairman demanding justice for the ?inhuman torture? on his son by army personnel.
In a statement issued on April 24, commission Reazul termed it a serious violation of human rights to kill an innocent person in torture.
HSC examinee Romel, 20, was the general secretary of United Peoples? Democratic Front-backed Pahari Chhatra Parishad?s Nannerchar upazila unit.
He was allegedly picked up by local army personnel on April 5 and taken to police station in the evening.
The next morning, police and army personnel admitted him to the Chittagong Medical College Hospital, where he died on April 20.
Romel?s father alleged that they were barred from meeting him at the camp as well as at the hospital.
According to media reports, the Inter Services Public Relations alleged that Romel had masterminded the attack in which two buses were robbed and a truck was set on fire in the area on January 23.
Different rights groups, student bodies and UPDF demanded a judicial inquiry into the death terming the detention and torture unjust. 

Kalpana's Warriors in Delhi

THE SEARCH FOR KALPANA CHAKMA

BY SMRITI DANIEL??/??28TH JANUARY 2016

Kalpana's Warriors_Exehibition Opening
Opening of ?Kalpana?s Warriors? at Drik Gallery 12 June 2015 on the 19th anniversary of her abduction. Photo: Habibul Haque/Drik

 

Shahidul Alam has long been gripped by the life of a woman he has never met.
It?s been two decades since Kalpana Chakma was abducted, but Shahidul refuses to forget her. Standing at the threshold of his latest exhibition,Kalpana?s Warriors, the Bangladeshi photographer pauses for a moment.
In the room beyond is the third in a series of photo exhibitions that began with Searching for Kalpana Chakma in 2013, and was followed by 18 in 2014. The woman around whom these pictures revolve is notably absent from them. She was abducted at gunpoint in the early hours of 12 June 1996 from her home in Rangamati in Bangladesh. Her captors were a group of plain-clothed men who were recognised as being from a nearby army camp. Kalpana never returned home and her fate remains unknown.
When the exhibition first opened at the Drik Gallery in Dhaka, many of those who had been photographed could not risk coming out of hiding, yet the room was full of people who knew Kalpana?s story intimately. Some simply stood for a while before the portraits, others wept. Continue reading “Kalpana's Warriors in Delhi”

Moving opening ceremony of "Kalpana's Warriors"

Remarkable: Noam Chomsky

Absolutely stunning: Jess Worth. New Internationalist Magazine (Oxford)

We had a fabulous opening with moving recitation of Kabita Chakma’s poem “I will defy” by Aungmakhai ChakMarium Rupa and Rahnuma Ahmed. Many of the warriors were present in person. We were sad to miss Saydia Gulrukh, but her presence was felt.

I will resist, I shall defy
Will you do as you please?
You turned my home into sand
It was a forest where I stand
You made daylight go dark
Left it barren never a spark
I will resist. I shall defy
You strip me of my land
On my women, your hand
No longer shall I see
No longer will I be
Abandon, neglect, rage
A throbbing womb, my stage
I curl, I tear asunder
Awake, I search, I wander
I am who I am
And I will resist
I shall defy
Poem by Kabita Chakma
Translation by Shahidul Alam
Thanks to Arshad Jamal and Chris Riley for their support and Mohammad Mohsin Miah for helping with the printing. ASM Rezaur Rahman curated the show and the entire teams from Drik’s Publication, Gallery, Photography and Audio Visual Department as well as the volunteers from Pathshala did a wonderful job. We shall resist and we will continue to defy.

#kalpana ‘s Warriors by #Shahidul Alam at #Drik Gallery #photography #art #bangladesh #CHT #rights #dhaka #dhanmondi

A photo posted by Shahidul Alam (@shahidul001) on


Opening of "Kalpana's Warriors" at Drik Gallery II. Photo by Habibul@Drik
Opening of “Kalpana’s Warriors” at Drik Gallery II. Photo by [email protected]

 

Opening of #kalpanaswarriors at #Drik gallery #dhaka #dhanmondi #photography #bangladesh #cht #rights A photo posted by Shahidul Alam (@shahidul001) on

Kalpana's Warriors_Exehibition Opening Kalpana's Warriors_Exehibition Opening Kalpana's Warriors_Exehibition Opening Kalpana's Warriors_Exehibition Opening Kalpana's Warriors_Exehibition Opening Kalpana's Warriors_Exehibition Opening Kalpana's Warriors_Exehibition Opening Kalpana's Warriors_Exehibition Opening Kalpana's Warriors_Exehibition Opening Kalpana's Warriors exhibition opening at Drik Gallery

Kalpana's Warriors

Remarkable: Noam Chomsky

Absolutely stunning: Jess Worth. New Internationalist Magazine (Oxford)

E-Invitation card

They told me you were quiet. But I felt the rage in your silence. That when you spoke, they rose above themselves. But I felt their fear. That they held you amidst them. But I felt their loneliness. They pointed to the Koroi tree where you would all meet. The banyan tree under which you spoke. Ever so powerfully. They pointed to the mud floor, where you slept. I touched the mat that you had rested upon, and I knew I had found the vessel that must hold your image.

New settlements with glistening tin roofs dot the hillsides. According to Amnesty International as of June 2013 the Bangladeshi government had still not honored the terms of the peace accord nor addressed the Jumma peoples concerns over the return of their land. Amnesty estimate that there are currently 90,000 internally displaced Jumma families. Photo: Shahidul Alam/Drik/Majority World
New settlements with glistening tin roofs dot the hillsides. According to Amnesty International as of June 2013 the Bangladeshi government had still not honored the terms of the peace accord nor addressed the Jumma peoples concerns over the return of their land. Amnesty estimate that there are currently 90,000 internally displaced Jumma families. Photo: Shahidul Alam/Drik/Majority World

They had tried to erase you, your people, your memory. They had torched your homes and when coercion failed, when you remained defiant, they took you away, in the dead of night.
Abandoned typewriter in the room where Kalpana and her comrades used to meet. Photo: Shahidul Alam/Drik/Majority World
Abandoned typewriter in the room where Kalpana and her comrades used to meet. Photo: Shahidul Alam/Drik/Majority World

The leaves burned as the soldiers stood and watched. The same leaves they weave to make your mat. The same leaves I shall burn, to etch your image. Will the burning mat hold your pain? Will the charred leaves hold your anger? Will the image rising from the crisp ashen leaves reignite us? Will you return Kalpana?
Pahari protestors could previously go to the GOC's office to express their grievances. Today, in Khagrachori, they no longer have that access. Photo: Shahidul Alam/Drik/Majority World
Pahari protestors could previously go to the GOC’s office to express their grievances. Today, in Khagrachori, they no longer have that access. Photo: Shahidul Alam/Drik/Majority World

The Shapla Mor in Khagrachori was also a centre of protest. Pahari protesters are no longer allowed there, though Bangali settlers have access, says Kabita Chakma, former president of the Hill Women's Federation. Photo: Shahidul Alam/Drik/Majority World
The Shapla Mor in Khagrachori was also a centre of protest. Pahari protesters are no longer allowed there, though Bangali settlers have access, says Kabita Chakma, former president of the Hill Women’s Federation. Photo: Shahidul Alam/Drik/Majority World

For nineteen years I have waited, my unseen sister. For nineteen years they have waited, your warriors. Pahari, Bangali, men, women, young old. Was it what you said? What you stood for? Was it because you could see beyond the land, and language, the shape of one?s eyes and see what it meant to be a citizen of a free nation? For pahari, bangali, bihari, man, woman, hijra, rich, poor, destitute, Hindu, Muslim, Christian, Buddhist, Atheist, Agnostic, Animist.
Posters in the meeting room where Kalpana and her comrades used to gather. Khagrachori. CHT. Photo: Shahidul Alam/Drik/Majority World
Posters in the meeting room where Kalpana and her comrades used to gather. Khagrachori. CHT. Photo: Shahidul Alam/Drik/Majority World

You had reminded us that a nation that fought oppression, could not rule by oppressing. That a people that fought for a language, could not triumph by suppressing another?s. That the martyrs who died, so we might be free, did not shed their blood, so we could become tyrants. That we who overcame the bullets and bayonets of soldiers, must never again be ruled through the barrel of a gun.
That Kalpana is what binds us. That is why Kalpana, you are not a pahari, or a woman or a chakma or a buddhist, but each one of us. For there can be no freedom that is built on the pain of the other. No friendship that relies on fear. No peace at the muzzle of a gun.
These Kalpana are your warriors. They have engaged in different ways, at different levels, sometimes with different beliefs. Some have stayed with you from the beginning. Others have drifted. They have not always shared political beliefs. But for you Kalpana, my unseen sister, they fight as one.
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The Process

The process involved in creating these images are rooted to the everyday realities of the hill people, the paharis. Repeatedly, the interviewees talked of the bareness of Kalpana?s home. That there was no furniture, that Kalpana slept on the floor on a straw mat.


Rather than print on conventional photographic media, we decided we would use material that was part of pahari daily lives. The straw mat became our canvas. The fire that had been used to raze pahari homes, also needed to be represented, so a laser beam was used to burn the straw, etching with flames, the images of rebellion.
It was the politics of this interaction that determined the physicality of the process. The laser beam consisted of a binary pulse. A binary present on our politics. In order to render the image, the image had to be converted in various ways. From RGB to Greyscale to Bitmap, from 16 bit to 8 bit to 1 bit. To keep detail in the skin tone despite the high contrast, the red channel needed to be enhanced. The Resolution and intensity and duration of the laser beam needed to be brought down to levels that resulted in the straw being selectively charred but not burnt to cinders.
A screen ruling that separated charred pixels while maintaining gradation had to be carefully selected. And then, working backwards, a lighting mechanism needed to be found that broke up the image into a discrete grid of light and dark tones, providing the contrast, the segmentation and the gradation, necessary to simulate the entire range of tones one expects in a fine print. This combination of lighting, digital rendering, printing technique and choice of medium, has led to the unique one off prints you see in this exhibition. A tribute to a unique woman that had walked among us.

Eighteen

?I think it is natural to expect the caged bird to be angry at those who imprisoned her. But if she understands that she has been imprisoned and that the cage is not her rightful place, then she has every right to claim the freedom of the skies!” Kalpana Chakma

Dress belonging to Kalpana Chakma. Photo: Shahidul Alam/Drik/Majority World
Dress belonging to Kalpana Chakma. Photo: Shahidul Alam/Drik/Majority World

Eighteen. The legal age to vote.?The age of sexual consent. The threshold of adulthood when one ceases to be a child. Eighteen. The sections of the?Mahabharata. Eighteen armies fighting over eighteen days. Eighteen, the number of years we have waited for justice. Eighteen years that you have been gone Kalpana, my sister.
Continue reading “Eighteen”

Egypt: Advice to Vassals

Yet More Advice

If you find a?vassal?country takes a path that you dislike,
It’s your duty to divert it, with a bold preemptive strike.

Woman facing down bulldozer, standing over wounded Morsi supporter @AFP Mohammed Abdel Moneim
Woman facing down bulldozer, standing over wounded Morsi supporter @AFP Mohammed Abdel Moneim

But when bleeding troops and money, you had better think of ways,
By which to wield your influence.? A little thinking pays.
You can call for free elections and for freedom of the press.
If you don’t like who’s elected, push for freedom to repress. Continue reading “Egypt: Advice to Vassals”

Deutsche Welle interviews Shahidul Alam on "Searching for Kalpana Chakma" show (Bangla)

Military’s sole role has been repression

?The borders of the Global Village? (?Die Grenzen des globalen Dorfs?) lautet das Thema eines Vortrags des bengalischen Professors Shahidul Alam am Donnerstag, 3. Mai, auf der re:publica in Berlin.  internationale Blogger-Konferenz re:publica in Berlin. Aufnahmedatum: 3. Mai 2012 Fotograf: DW/ Matthias M?ller