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Shahidul News Posts

As Mujib Watches Helplessly

I entered the giant graveyard. It was quiet except for my own footsteps but, in my head, I could hear the screams. Rows of blackened sewing machines, still in orderly lines, reinforced the sense that I was looking at tombstones. There were no flowers here. No epitaphs. No mourners.

Stitched photo of burnt remains of Tazreen Fashions. Photo Shahidul Alam

A fire had raged through the Tazreen Fashions garment factory in Ashulia on 24 November 2012. Workers stationed on the building’s third and fourth floors had rushed to the exits, only to find them locked, a regular practice in many Bangladeshi garment factories. Fires and worker deaths were, sadly, all-too-common. The owners justified the locking of the doors as a ‘security measure’ but workers were effectively prisoners during working hours. As the heat and smoke built up, the panic-stricken labourers, who were unable to break down the iron gates, rushed to the windows and somehow managed to remove the metal grills. It was a long way down, but one by one they jumped. Some screamed with pain as they fell; others were silent. Each landed with a dull thud, their bodies crumpled on the uneven ground below. Possible death was still a better choice than certain death. And some did survive.

International Press Freedom Awards

CPJ is honored to present its 2020 International Press Freedom Award to Bangladeshi journalist Shahidul Alam.

Alam is a renowned photojournalist and commenter, and the founder of the Bangladeshi multimedia training organization the Pathshala Media Institute and the Drik Picture Library Ltd. He also co-founded the photo agency Majority World and the Chobi Mela Festival, a pioneering photography festival in Bangladesh. His photographs of life in Bangladesh, as well as of protests and the environment, are well known in his country and around the world.

Upholding the Moral Compass

First published in The New Age

Barrister Rafiq Ul Haque in his home in Purana Paltan. Photo: Shahidul Alam/Drik/Majority World

The boat was headed North from Victoria Harbour in Hong Kong island. It was 1986, and the big outflow of Bangladeshi migrants hadn’t really begun. The last thing I expected as I headed to Kowloon was Bangla being spoken. Curious, I approached the distinguished looking gentleman and introduced myself. I had been away for twelve years and didn’t even recognise the name Rafique Ul Haque. He didn’t let on that he was a celebrated lawyer, but I had enough wits around me to work out that a Bangladeshi lawyer meeting a client in Hong Kong, had to be rather good. It was much later that I found out that the man I had been speaking to was a class friend of the former president of India Pranab Mukherjee and had stayed at the same Baker Hostel in Kolkata where Bangabandhu Sheikh Mujibur Rahman had been. I was on a judging assignment, and I introduced him to my fellow jury members, the Indian photographer Raghu Rai, the Malaysian photographer Eric Peris and Wee Beng Huat, the photo editor of the Singaporean Newspaper, The Straits Times. Neither of us knew then that he was a close family friend. His wife, Dr Farida Haque worked with my father professor Kazi Abul Monsur who was then director of the Public Health Institute. She was also his former student. Both Rafique Bhai’s family and mine were ‘doctor’ families. We had joked that had we become doctors we would have run out of patients in the family. Rafique Bhai had retained his familial leanings by establishing the Shishu Hospital, the Ad-Din Hospital and a cancer hospital that was close to completion when we last met. Having bequeathed all his property except the family home to these institutions, he had told his lawyer son, ‘I’ve given you a decent education. You earn your keep’.

Who lives, who dies, who decides?

The Councillor of 26 No Ward of Dhaka South City Corporation, Mr Hasibur Rahman Manik who led a ruling party procession to the venue to disrupt a peaceful performance by Drik Picture Library at Raju Bhaskorjo at the Dhaka University on 4th September 2020, Drik’s 31st Anniversary. © Habibul Haque/Drik

‘PAPA, are you crying?’ were the last words popular Awami League councillor Akramul Haque’s daughter had said to him. The family then heard the gunshots. The groan. Then more shots. The sounds, recorded on their phone, and later released to the media, reverberated across paddy fields, along the undulating Chittagong Hill Tracts, across swampy marshlands, on the waves of the Padma and Jamuna, in fancy apartments of Gulshan and Baridhara, and now in the cantonment. It reaffirmed what we all knew, and what the government has consistently denied. That it was the law enforcing agencies of our country, rather than the courts, who decide whether a citizen should live or die.

Politics Cannot Be Separated from My Art

B&H Photography Podcast

Listen to the Podcast

With an exhibition of his 40-year photographic career opening at the Rubin Museum of Art, in New York,  photojournalist and social justice activist Shahidul Alam was kind enough to join us on the B&H Photography Podcast to discuss the current exhibit, his career, and the state of photojournalism around the world. Also joining us is scholar, archivist, and the author of Conversations on Conflict Photography, Dr. Lauren Walsh.

Truth to Power is the name of the Alam’s exhibition and it is “a tribute to the numerous acts of resistance all across the globe and gives hope to those who continue to believe that a better world is possible.” As the name indicates, Alam’s work confronts the injustices in his native Bangladesh, where he has spent a career photographing natural disasters, social inequalities, street protests, migrant workers, and investigating those murdered or kidnapped. He also founded the Chobi Mela Photography Festival and the Drik and Majority World photo agencies, which has enabled countless photographers a better chance to have their stories seen by a larger audience.