A self-taught photographer with a strong sense of humour Rashid Talukder received a Lifetime Achievement Award at the Chobi Mela international photography festival in Dhaka, in 2006. His images of the war of liberation of Bangladesh and the political events leading up to it, are the most comprehensive visual documentation of Bangladesh’s political history on record. Rashid Talukder handed over his entire collection of negatives to the Drik Picture Library in Dhaka before he passed away.
With support from Drik’s long standing partner, the Prince Claus Fund Drik has been scanning the Talukder archives of over 165,000 original negatives. The archives contain rare images, many of them never previously seen. These include major political events, everyday life and photographs of Bangabandhu Sheikh Mujibur Rahman, the founder of Bangladesh, whom Talukder was especially close to. The photographs show Mujib, not only as a statesman, but also as someone close to his people. There are also private and intimate moments which give insights not only to the public figure, but also to the individual.
While Talukder is virtually unknown outside of Bangladesh, he was one of the foremost chroniclers of the struggle for independence, photographing its origins in the language movement of the 1950s and continuing through the war’s aftermath.
Now hailed as a founding father of Bangladeshi photojournalism, Mr. Talukder made some of the most important images of the war, which by some estimates claimed one million lives and turned 10 million of his countrymen into refugees. He also documented everyday life in Bangladesh during his 46-year career, during which he worked for the newspapers The Daily Sangbad and The Daily Ittefaq. Through an initiative of the new mayor of Dhaka North Annisul Huq, and his council members, a massive outdoor exhibition has been arranged at the iconic parliament building of Bangladesh, designed by Louis Kahn, based largely on the Drik archives. Special access has also been arranged for the general public where even rickshas will be allowed into the parliament complex.
Commemorating the 40th death anniversary of the father of the nation, this provides a rare opportunity for visitors not only to see these previously unseen photographs, but also visit this landmark building, considered one of the architectural masterpieces of the 20th century.
The honourable Prime Minister of Bangladesh, Sheikh Hasina, the daughter of Sheikh Mujibur Rahman, will inaugurate the exhibition today the 13th August 2015 at 5:00 pm.
Drik, the Bangladesh Partner of Prince Claus Fund (PCF) invites application for grants on cultural initiatives from organizations and individuals in Bangladesh.
The Deadline for submission: 5pm, 15 March 2012.
Only applications received by this deadline will be considered.
The submission can be in either in English or in Bangla on the prescribed application form?which are available in the Drik website where?guidelines for submission in Bangla and English are also provided.
Please send applications through email?or through a CD/DVD to: Drik, House 58, Road 15A, Dhanmondi, Dhaka 1209.
The Prince Claus Fund?s mission is to actively seek cultural collaborations founded on equality and trust, with partners of excellence, in spaces where resources and opportunities for cultural expression, creative production and research are limited and cultural heritage is threatened. The Prince Claus Fund is based in Amsterdam and is supported by the Dutch Ministry of Foreign Affairs and the Dutch Postcode Lotte
It was a moment that had been etched in her mind. In a workshop with Eugene Richards, one of the greatest photojournalists of our time, Dayanita had been asked, as had all the other workshop participants, to “photograph each other naked”. She was not comfortable with this, and questioned the value of such an exercise. “Trust me,” Eugene had said, “I want you to realise how vulnerable one can be facing a camera.” It was to be a turning point. Eugene might not have known, but it was this ‘vulnerability’ that Dayanita Singh chose to explore as her medium.
It was as a curator of the show “Positive Lives” an exhibition on people’s responses to HIV/AIDS that I was first introduced to Dayanita’s work. As I looked through the archives at the respected Network Agency, I saw competent photo essays on sex workers in India. The work did not excite me. India, was known for its exoticism, its misery, its otherness. An Indian photographer, documenting the same stories that western photojournalists had established as the face of this great nation, was a disappointment. I could hardly dispute the images. She was a fine photographer, and while the prints I was shown lacked the quality one might have desired, the photographer was clearly one skilled in her art. That for me, was not the issue. I was later to discover that it was not the issue for this remarkable photographer either.
The images Dayanita produced for Positive Lives were breathtaking. The exquisite composition and her sense of moment were the tactile elements that made her images stunning, but more persuasive was the humanity in her photographs. The tender relationships, the joy, the shared pain, the sense of belonging that she was able to nurture and portray. It was then that the trouble started, a trouble that I am glad I came across. We had meticulously gone through the issues of representing people with HIV/AIDS. They risks people faced due to stigma. The physical dangers the display of the images might lead to. Dayanita’s concern for the people she had photographed meant she had to protect them all the way. It was frustrating for me as a curator. To find pictures which were sublime in their construction, to be left behind, because the photographer felt there was too great a risk of repercussion. Too great a threat, of perhaps things going wrong. We put together a great show, but I knew, photographically it could have been much greater. I also knew we had done the right thing. Dayanita remembered too well, how vulnerable one could be facing a camera.
I look back to the stroll through her flat in Delhi, the photographs taken by her mother, juxtaposed with her own. She had been questioning her own work for some time. Questioning her ‘success’ at producing images that regurgitated the “India” the west already knew. She chose to become a mirror to herself, and in that process begin a journey that would create a window to an everyday world. An everydayness that other photographers had shunned. Dayanita and her camera merged into one. She became the fly on the wall, the confidant, the muse. the critic. Before sub-continental literature had made its indelible mark, Dayanita was writing visual novels about middle class India. The glitzy, private, solemn, contradictory, celebratory world of the India today.
She harnessed photography’s unique ability to record detail, its penchant for capturing the fleeting. Its ability to make time stand still. She made the ordinary, special, and the special, ordinary. She also made an important shift within the profession. Recognising that the medium had shifted from the Life Magazine visual spectacles, aware that the spaces for visual journalism had shifted, Dayanita, took on the spaces that other photographers had feared to tread. Her venture into museums and galleries, her indisputable presence as an artist, has challenged the traditionalists in the field of art, who had been unable to grasp the magic of this new medium. Her presence while imposing is also path breaking. A new generation of photographers will wake up to this wider canvas. Some will take it upon themselves to explore this new space. And the ripples will spread. Dayanita meanwhile will continue to nurture the vulnerable. Through the cracks of her mirror she will take us to the other side.
—————————————————- Indian photographer Dayanita Singh was one of the Prince Claus Fund laureates for 2008. Indian writer Indira Goswami (1942, Guwahati, Assam) was presented this year?s Principal Prince Claus Award of ?100,000 on Wednesday, 3 December 2008, in the Muziekgebouw aan ?t IJ in Amsterdam. Other laureates were, Li Xianting (b. 1949, Jilin Province, China), Venerable Purevbat (b. 1960s, Tov Aimag, Mongolia) , Ousmane Sow (b. 1935, Dakar, Senegal), Elia Suleiman (b. 1960, Nazareth, Palestine) ,James Iroha Uchechukwu (b. 1972, Enugu, Nigeria), Tania Bruguera (b.1968, Havana, Cuba), Ma Ke (b.1971, Changchun, China), Jeanguy Saintus (b. 1964, Port au Prince, Haiti) and Carlos Henr?quez Consalvi (El Salvador, b. 1947 Venezuela). Drik Picture Library has a special relationship with the Prince Claus Fund