Rahnuma forwarded me Laily’s wrenching FaceBook post. Her father is dying, far away in a UK hospital. Heart breaking, holding back tears, she and her family watch from afar. Unable to touch, to hold, to caress the person who is dearest to them. This is what Corona means in real terms. It was through her research on one of my heroes, the peasant leader Abdul Hamid Khan Bhashani, and later through them staying at the Pathshala Guest House, that we got to know her. Bhashani’s principle of putting nation before self and his simple lifestyle is a very distant reality from the ruling politicians of today. Despite its pain, Laily’s post reminded me of my own dad and my childhood. I remembered dad resting in his easy chair. His belly just the right slope for us kids to use as a living slide. We used to call him bhalluk (bear), and every day as he rested after lunch, my cousins and I would line up behind the easy chair, clamber up to his shoulders and slide down his belly. Mum would freak out, as my dad had osteomyelitis as a child and had never fully recovered. His shins were always exposed and very fragile. Quite apart from wanting him to rest, the idea that we might aggravate his injury worried her. Abba was unperturbed, happy to be teddy bear to a room full of kids. We’d run back to the end of the queue to slide down again. We were always tired before Abba ever did. We didn’t think of it as physical contact in those days. When Abba died, I remember feeling the stubble that had grown on his soft skin, as I stroked him before we laid him down.
Newcomers to Bangladesh are overwhelmed by the generosity of our village folk. They love it when strangers clasp their hands, but are somewhat unsure when seconds, sometimes minutes pass, before their hands are reluctantly released. Years ago, when we at Drik were trying to improve our English skills, we struck a deal with the local office of the British Council. Unable to pay for the expensive English classes, we negotiated a barter. We would do their photography. They in turn, would teach us English. It wasn’t just language skills though, it was learning English culture. One of the first things our English teachers told us was to release the hand quickly! Prolonged physical contact could make the English squirm.
The Jamuna TV report was disturbing. The CNG drivers are desperate. Rikshaw driver Nazrul from Kurigram waits forlornly for a passenger. Another waves the 30 taka he has earned. Face taut, eyes glazed he stares from his perch. ‘Will this 30 taka feed me or feed my wife?’ he asks angrily. The roadside shopkeeper doesn’t have customers, but there is no respite from the rent, or the ‘chanda’ (protection money) he has to pay the local ruling party thugs. Roadside restaurants feed these workers. Yes, close contact is risky, and the far from ideal washing arrangements, signals a high risk of contagion. But they have little choice. Death by starvation is no better a choice than death by virus. ‘God will save us,’ one of them says, ‘what other hope do we have?’ The kids who work in the restaurants get ‘food for work’ in a very literal sense. They draw no wages. When there is work, they get fed. He’s a plucky kid. Putting up a brave face to the fact that today he’ll go hungry. No promises for tomorrow. Lockdown, hand wash, drinking lots of water, social distancing. I recognise the importance of these fancy terms. But what does that mean for the 67 million day-labourers of Bangladesh to whom water itself is a luxury?
In an interview with Shahidul Alam from his hospital bed, Chief Coordinator of Ganosamhati Andolon, Zonayed Saki, talks about the attack by police which left over fifty of his comrades injured. General Secretary of Biplobi Workers’ Party Saiful Haq was also injured. They were protesting the rigged elections on 30 December 2018. Opposition activists remember 30 December for the ‘Death of Democracy’.
I am Zonayed Saki. I am the chief coordinator of Gonosamhati Andolon.
Gonosamhati Andolon is a political party in Bangladesh working for the rights of people.
You all know that in Bangladesh on the 30th December 2018, the election that took place was a vote robbery.
There has never before been an election like this in Bangladesh. Most ballots were stamped the previous night, and they filled up the ballot boxes.
And the entire state machinery was used towards this vote robbery.
There has never been a previous instance where this has happened in Bangladesh, because the Prime Minister had, prior to the election, had discussions with all political parties of Bangladesh. Continue reading “Obituary of a Democracy”
It was on the 5th August 2018 that I was picked up from my flat. It led to torture, remand, over 100 days in jail and eventually bail on the 6th attempt.
What do I remember of my incarceration? One of my endearing memories is during a power cut (which happens regularly in this high security (KPI) location), when I would hear one of the prisoners sing a song both Rahnuma and I are very fond of. A Baul song composed by Ukil Munshi on the death of his beloved. The song “Shona Chand Pakhi” was made famous by the bard Bari Siddique. Songs are always difficult to translate, but here is a crude attempt:
My tender moon my tender bird Do you slumber as I call, You and I, entwined we were Forevermore and all
Why must you, so quiet stay Open your eyes, my gentle one So quiet you are as I call today Its my call, don’t slumber on
Bulbul, Parakeet, Mynah So many names to you I call You broke the chains and left me Where do I stay where do I fall?
This love of ours, as I call and you sleep Sun and moon witness in the sky Suddenly you leave me all alone I am left with the question why?
Interview with Shahidul Alam by Daniel Boetker-Smith
Photojournalist and activist Shahidul Alam speaks out about the effects of his detainment on Dhaka’s Chobi Mela Festival, and how the event still plans to persevere for years to come.
SHAHIDUL ALAM Photo: Tom Hatlestad
The year 2018 is one that Shahidul Alam, and the wider international photographic community, will not forget so easily. In August last year, just hours after an interview on Al Jazeera where he openly criticized the Bangladesh government’s violent response to student protests, Alam was forcibly taken from his home by the Dhaka Metropolitan Police and arrested.
While remanded, Alam was interrogated and beaten. Following a significant outpouring of support and pressure from Amnesty International, the Committee to Protect Journalists, Reporters Without Borders and other Bangladeshi and international organizations and notable figures, Alam was released after spending 107 days in prison.
As a widely respected activist, photojournalist and academic, Alam is most prominently known as founder of the Drik Picture Library, the Pathshala South Asian Media Institute and the biannual Chobi Mela Photography Festival in Dhaka, Bangladesh, which returns on February 28th of this year for its tenth edition.
In one of his first major interviews since the events of late last year, Alam talks to Daniel Boetker-Smith about the upcoming festival, the political power of photography, and the state of the medium in Bangladesh, South Asia and beyond.
DBS: Given recent events that we have all followed closely, how has planning for this Festival been different to previous years?
SA: The last few months have meant that this year’s festival is coming back to its roots. Chobi Mela began as a very small event, and over the past 20 years it grew significantly in stature. But this year, we are activating a diverse range of less formal exhibition venues around Dhaka. This shift is one of necessity, because Chobi Mela is not an organization that everyone in Bangladesh wants to work with at the moment—we are seen as dangerous. A lot of previous supporters and sponsors of the festival are businesses in Dhaka, and right now they are being tested. They know that their decisions are being monitored and that there is high level of government surveillance surrounding the event. Because of this, we have had to be more inventive, finding new ways to show work, utilizing different types of exhibition and event spaces for photographers and audiences. Some public venues and government-owned buildings are no longer available to us, and we are choosing to see this as an opportunity to move away from the traditional ‘white cube’ mode of presentation, to a much more raw and community-oriented festival. Continue reading “There’s Power in Photography: The Undying Resilience of Dhaka’s Chobi Mela Festival”
How do you persuade a government to release a prisoner, however wrongfully incarcerated, if it doesn’t want to cooperate?
Thousands of signatures, tweets, Instagram and Facebook posts. Dozens of articles. Then there are the rallies: from Kathmandu to New York, from Rome to New Delhi, London to Mumbai. Week by week, hundreds of people are gathering in public spaces to protest against the incarceration in Dhaka, Bangladesh, of photographer, journalist, teacher and activist Shahidul Alam.
Among the most headline-grabbing initiatives is Wasfia Nazreen’s sky-high stunt. The mountaineer and social activist — the first Bangladeshi to climb the Seven Summits — flew over Manhattan in an airplane trailing a banner that read “Free Shahidul Alam. Free our teachers.” Another high-profile intervention was made by artist Tania Bruguera, who was herself locked up in her native Cuba after she offended the state censors, and recently devoted her Tate Modern exhibition in London to a display of Alam’s photographs. “What keeps you going when you’re in prison,” Bruguera told me, “are your principles. And the support of others around you.” Continue reading “Shahidul Alam: Caught in the Crossfire of Bangladesh’s Fledgling Democracy”