From the margins. Leaving girlhood behind.

by Rahnuma Ahmed

I cannot say when I grew up but I think as you grow older you change in such a way that…it
influences you. Growing older influences you.
? A 22-year-old polytechnic student
Girls from better-off homes are like broiler chicken (farm-er murgi).
? A 19-year-old college student, photographer

Shahidul Alam/Drik/Majority World
? Shahidul Alam/Drik/Majority World

How it all began

At times curious, ?I don?t know which end the baby comes from, please include that in the book.? At times plaintive, ?All these grandmotherly types in the village said, if a boy so much as touches you, you?ll become pregnant. I was terrified, I kept shrinking and slinking away for years and years…? On occasions stroppy, ?And yes, you must include a section on pills,? ?And there must be a discussion on why wives are not to blame if a girl child is born,? ?Also, when a wife is pregnant and starts feeling less y?know, but her husband keeps insisting, can you please have a discussion on how long they can do it, without the baby being harmed?? On others giggly, ?And yes, tell those boys that not all girls are to be looked at as (future) wives, but as sisters.?
The idea of putting together a resource book for girls and young women on adolescence grew out of listening in to the whispered conversations of the Out of Focus girls when they stayed with us overnight, some of them for weeks, sometimes more than a month or two, to prepare for their coming matriculate exams. It was the name that a young group of boys and girls of low-income families, who Shahidul trained in photography for many years, had chosen for themselves. And then there was Nahar, who grew up piggybacking on Shahidul, whose mother worked as a peon in the office facing our flat. And also, my experience as a university teacher at Jahangirnagar, where women students, sometimes from other departments as well, would seek me out for advice.
The idea took material shape much later when RIB (Research Initiatives Bangladesh) agreed to fund the initiative of writing a resource-book, a book that would include both information which girls had sought but were denied (?My bhabi said, you will find out when it happens?), or didn?t know who to ask, how to ask (?I was curious but afraid of asking my elder sister, she?d have thought I was a bad girl?), and also, their own life-experiences of growing-up. Books for adolescent boys and girls, increasingly made available by NGOs, are generally authored in a seamlessly whole adult voice, one that ?talks down? to adolescents. Adolescence is viewed as transitional, a stage of life, as a problem requiring solutions, rather than a period marked by ?specific psychosexual development? (Walkowitz, 1980). Gender dynamics, processes of thinking and feeling, informal power, and cultural conceptions of the self are ignored. The need for a nuanced appreciation of material realities, of subjective fears, dreams and aspirations is generally absent. Instead, one sees an over-reliance on the need for disseminating medical, scientific knowledge, totally oblivious to more recent feminist critiques that call for the need ?to reintegrate the whole person from the jigsaw of parts created by modern scientific medicine? (Koeske, 1983).
The manuscript was co-authored. Rima, Shetu, Shopna, Moly, Brishti and Doly from Out of Focus, and Nahar, were joined by other girls from the social margins, Epy, Khincchin, Nomita, Lokkhi, Pensila, Maria, Runu, Shebika and Anju, a total of sixteen writers who were assisted by three women anthropologists, Shah Afroditi Panna, Rajina Sultana and myself. The work is now in its final stages.

Tales of growing-up: contributing to family incomes

Girls from social and economic margins contribute to family incomes rather than being dependent, as is the norm in middle-class families. Lokkhi, 21, whose father had retired from the lowest rungs of government service, who had a brother who ?didn?t count, he doesn?t look after us,? provides for her family?s food expenses by tutoring several schoolchildren, and doing appliqu? embroidery on saris. Brishti?s, 19, father died when she was young, her only sibling is an elder sister, a garments factory worker. ?After my sister got married, I began supporting my mother and myself, I was on ETV?s Mukto Khobor but the neighbours were suspicious, `She must be up to some tricks,? they said. Both Lokkhi and Pensila studied at the Open University-run schools, in addition to earning incomes.
Pensila came to Dhaka to work as a domestic help, leaving behind her parents and three siblings, a family of marginal farmers in Chapainawabganj. Her father?s sudden death caused her to leave Dhaka, and we lost contact with our youngest co-author, who was only 14. Shebika, 20, and Epy, 17, two Chakma sisters from Khagrachari, had recently come to Dhaka to join their older, married sister who works in a garments factory. Shebika entered factory work, while Epy took charge of running her sister?s household. The family had lost their home, land and livelihood due to military atrocities, and had been forced to flee to refugee camp life in Tripura, India for ten years. They returned to Bangladesh in the mid-1990s, but impoverishment had already set in. Another co-author was Nomita, a petite sixteen-year old, whose father works as a school guard. Unsuccessful in her Matric exams, Nomita was dolefully considering taking them again, as she sewed chumki on shalwar-kameez-orna sets, piecework that contributed a steady trickle to her family income.
Most of our co-authors described childhood as a time when they ran around freely, played with boys, and had not a single care in the world.

Tales of growing-up: attraction, love and desire

I quizzed Pensila. ?Yes,? she said, ?I would talk with the other girls.? About? Well, marriage. And? You have to leave your parents. And? Well, the husband… And? I feel shy. Go on, I urged her. You have to sleep beside your husband, she burst out and blushed. Both of us giggled uncontrollably.
Another co-author had said, when I was at home, in the village, I would enjoy it when my boudis (sisters-in-law) would sit and ?talk dirty?. Rabeya spoke of her own awakenings when she and close friends would sit and pore over a love letter, sent to any one of them, re-reading it for the umpteenth time. Nomita recollected how, soon after her periods began, her cousins? wives would tease her mercilessly, ?Now we can marry you off. We will make you jealous. We will keep your husband for a night.? One of us had asked Lokkhi, what is sexual desire? Do women feel it too? She replied thoughtfully, ?It is not something that one gives but something that one shares, like say, a husband and his wife, between the two of them.?
Another of our co-authors told us, ?When my sister doesn?t give in to her husband, and they quarrel, my other sister cautions her, ?If you don?t, men are likely to heat up and suffer from a stroke.?? Dhaka Community Hospital was a partner in the writing project, the medical staff ? from doctors to nurses to paramedics ? gave generously their time and attention to write answers to a long list of questions drawn up by our co-authors (?we want to know what the doctors think, what science says,? was a common refrain of many of our co-authors). We related this incident to Dr Quazi Quamruzzaman, its chairman, and an old friend of mine. We sought his medical opinion. Flabbergasted but quick to regain his composure, Zaman bhai tersely replied, ?Tell them to bang him on his head.?

Tales of growing-up: parents as sexual

The older co-authors spoke of how mothers often relate to them, their own experiences. Parents have to sacrifice their own needs and desires because the children have grown up, one of them said. ?We lived in a single room, even that is one thousand to twelve hundred taka rent. Dhaka city is so expensive.? Another spoke of her family?s circumstances, ?My sister?s husband died when she was in her early 20s, she returned to live with us. My mother decided, from now on, we will sleep separately. But my father wanted to sleep beside her, he wanted to touch her, to feel her beside him.?
?We had moved to a new home, a large-ish room,? related one of them, ?sixteen hundred taka rent. My elder brother got married, they slept on the newly-partitioned side, while us four siblings slept on the bed. My parents slept on beds made on the floor. There was a daughter-in-law in the house now. My mother became very careful, she wouldn?t let him. But now that my father has passed away, she feels sad. She says, he must have been hurt.?
Rabeya beautifully summed up one of our intense night-long discussions, ?The problem is not theirs. It is ours. They were unable to tell us that they too, had wanted. And, of course, we never tried to see things from their perspective.?

Old Dhaka-Belonging

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Farish had talked of situations “so full of all qualities of
loveliness and purity, such new regions of high thought and feeling?
that to the dwellers in past days it should seem rather the production
of angels than of men.” Madras Christian Instructor and Missionary
record (1844).
The Baroque music in the forests of Bolivia, did indeed sound like the
production of angels. Cecilia had brought us all over during the “VI
Festival Internacional de teatro Santa Cruz”. The church itself was
quite beautiful. Helmut’s comment, “At least the church did something
good”, rang in my ears. I see this beautiful land, one of the few in
South America where the indigenous people haven’t been largely
decimated. I see extermination of their religion, their language and
struggle to see how it was all dressed as civilization. I see the
ornate walls of the grand church and listen to the untold stories
screaming to be heard.
Thousands of miles away, a young Bangladeshi photographer Munem Wasif,
gives up the ‘respectable professions’ chosen for him and decides to
be a story teller. The third Pathshala alumni to be selected for the
prestigious Joop Swart Masterclass tells an ordinary story. One of his
growing up. But at a time when the only stories told are those told by
the conqueror, it is time the story tellers changed.
Shahidul Alam
Santa Cruz, Bolivia
30th April 2007
I had arrived to this world at just past noon on an overcast, rainy day some seventeen years before the new millennium. Following my birth, my mother moved back to our ancestral home in provincial Comilla. My real growing up was to start there. This move would lay the foundations of the person I would become. Like any other boy of my age, growing up in a small town, everyday carefree life coupled with a complex web of friends and family made up my world. Meandering over wishful thoughts of flying airplanes, riding bikes at will, kicking battered footballs under the incessant rain, and later trying to make excuses to my mother were all an integral part of this time. I grew up with cousins and uncles all around me. This developed a close-knit relationship with my family and deeply instilled in me a feel of collective being. After completing my middle schooling in Comilla, as I was pushed between the honking horns and blinding lights of the capital, Dhaka, I left behind the easy life of small town settings, but something came with me. A sense of belonging to the people, the place, the innocuous values of small town life ? the closeness of it all ? came bundled with the person that was to start a new journey in the city. It was hard. The days of pace and nameless acquaintance was fixated with forgetfulness. Homesick for my mother and sister, the nights were crossed with bouts of restlessness. To make the best out of such a turbulent time, my uncle admitted me to a photography course. While the medium had not appeared in any formal mode before, growing up in a visually explosive country with riots of colors all around, it instantly grabbed my attention. In fact, more so than the formal academics, which experienced a roll of turbulence along this time, as days of frenzied fermentation of variant frames were followed by equally fantastic nights of soul searching within those ?newly discovered? worlds. Sounding as tacky as one might, but seeing everything through a new pair of eyes is how I felt! Even before I had started to look with my own eyes at the unsettling, new environment of the city revolving around me, I was peering down a looking glass that was to be the lens. It gave me a wider, yet probing look, and one may say, meaning, to the lives in trepid spin within and beyond my periphery. The common place humdrum of daily activity suddenly imposed a rather ?larger than life? frame upon me. Call me idealistic but to me life must hold more meaning than just a fat paycheck, the proverbial suburban home, and the prescribed way to the promised, prescribed happy life. To me exploring my dreams ? the ones that were born and not imposed ? and realizing it ? by pushing the very boundaries of reality and imagination ? as far as possible is the path to self-actualization. I often ask myself ? ?do we try to create a mirror world when we take a picture??, ?do we want to see something that might have passed us by otherwise?? Well, I think we do. And I have come to believe that that is the singular, yet important, reason I am drawn to photography. It gives me time and space to a stand, maybe even suspended in motion, to search and delve into myself and my surroundings. Till now, and in the coming frames, I explore the dreams that are yet to be born.
Munim Wasif. Dhaka
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I Will Not

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Today on Earth Day we are celebrating by making promises

But I will not
I will not stop throwing paper on the ground.
I will not stop using plastic bags
I will not go to clean the beaches

I will not stop polluting

I will not do all these things because I am not polluting the world

It is the grown-ups who are dropping bombs

It is the grown-ups who have to stop
One bomb destroys more than all the paper & plastic that I can throw in all my life
It is the grown-ups who should get together and talk to each other

They should solve problems and stop fighting and stop wars

They are making acid rain and a hole in the ozone layer

I will not listen to the grown-ups!

[Student of class five of Karachi High School on Earth Day 1991].

It was in the wee hours of the morning. Propped up in our beanbags Nuzhat and I chatted while Zaheer and Ragni clicked away on their keyboards. I was in Karachi doing a story on Abdul Sattar Edhi, the philanthropist I admired greatly. Nuzhat and I had a lot of catching up to do, and our stories wandered in unplanned directions. We talked of when she and Nafisa Hoodbhoy had started the Peace Committee in Karachi and as she remembered this story her bright eyes welled up. Nuzhat was not the sort of person one could imagine being angry. But as she recalled the words of this little boy, she shook with emotion.

It was a week after they had heard the news of the US dropping a bomb every two minutes on Iraq. They had talked in school of how the world was being destroyed, of how the minds of people were being moulded, of how Pakistanis were looked upon at airports, but how the work of Edhi went unreported. She recalled how at the end of her talk, the chief guest, a woman known for her good work, went up to the boy and quietly told him off. How the prizes went to the other kids who had made presentations that no one could remember.

What can we say to the blind & deaf?
What does education & learning mean?

What should we teach & why do we teach it?

These were questions Nuzhat asked that night. Questions we continue to ask.

As we put together the work for this festival, I have marvelled at the range of statements the artists have made to address ?resistance?. At their modes of expression. At their defiance. To resist, to challenge, to question, to go against the grain, to deliberately choose the untrodden path is a conscious decision. It is a risky route fraught with danger, but a route we must follow, if change is to come.

The festival itself continues to buck the trend. Open air marquees without gates or walls bring rarely seen work to a wider public. Billboards on cycle rickshaws take exhibitions to city spaces that have never known gallery walls. Combining innovative low cost solutions with state of the art technology, video conferences link the virtual with the real, while canvas prints on giant scaffolding scorn the air conditioned confines of exclusive openings. Hand tinted prints rub shoulders with pica droplets on digital media. Fine art, conceptual work, installations, traditional photojournalism, coexist in a strange mix, oblivious to attempts to categorise and label. The future, the present and the past huddle, sometimes uncomfortably, to produce a kaleidoscope of images and woven messages, that question, reflect and celebrate aspects of our existence.

When globalisation has become a euphemism for westernisation, it is this dissolution of borders, this resistance to consumerism, this dream of a world where the might of a few, can be effectively challenged, this belief that tanks and stealth aircraft, and media spin will not subdue an indomitable spirit, that characterises this festival. It is this attempt to subvert, through blogs and handbills and word of mouth, the propaganda machineries that dominate the airwaves, that the artists have taken as their inspiration. The festival is a call to resist, and a declaration of the resistance to come.

Shahidul Alam

5th December 2004