The Liberation War Museum celebrated its 12th anniversary on March 22. Like previous years, the museum has organised weeklong special programmes on the occasion of Independence Day as well. A book fair featuring publications on the Liberation War was also inaugurated at the museum premises. Lt. Col. (Retd) Debendra Sthanpati, one of the Indian instructors at the Murti training camp in 1971, was invited to deliver the memorial speech on the occasion.
The event began with Dr. Sarwar Ali presenting the 12th anniversary special yearly report on behalf of the trustee board of Liberation War Museum. “With the support of countless people all over the country who contribute generously to our collection and activities, Liberation War Museum has become the largest source of the '71 documents and memorabilia,” said Dr. Sarwar Ali. He also informed the audience on the achievements of and obstacles faced by the museum in the past years.
Till December 2007, the total collection of the museum numbers at 14932, including 3439 photographs, 2055 important documents, 7748 newspaper clippings and 1690 memorabilia. However, only 1300 can be displayed now, as there is a lack of space in the museum.
Starting in 1996 as an effort to preserve the history of the sacrifice, sufferings and courage of the people during 1971, Liberation War Museum has gone beyond the conventional idea of a museum through its extended activities to generate interest in the history of the war amongst the masses. Dr. Sarwar Ali, Aly Zaker, Rabiul Husain, Ziauddin Tariq Ali, Sara Zaker, Asaduzzaman Noor, Mofidul Haque and Akku Chowdhury are the founder trustees of the museum.
Major General (Retd) Sayeed Ahmed Birpratik, one of the 61 young men to receive training at the first Bangladesh War Course at the Murti Camp, presented a brief biography of Sthanpati. Ahmed shared his experience of hardship and valour during the training under Sthanpati, the only Bengali instructor at the camp in the hilly location of West Bengal.
In his memorial speech, Sthanpati expressed his contentment to be able to visit the independent Bangladesh after so many years. “ I always wanted to know about my former students, none of them intended to take up the role of a military personnel under normal circumstances, and yet didn't hesitate to fight for the sake of their motherland. Meeting Mofidul Haque (a trustee of the museum) in 2006 and being invited to this event have been memorable,” he said.
Dance organisation Nrityadhara performed at the event. Rupali Modok, Mir Arifur Rahman and Sulata Rani Sharma, students of Baharpur High School, Rajbari, read out eyewitness accounts of the war next. The children collected the accounts under the outreach programme for the school students conducted by the museum.
The evening ended with performances by Bipul Bhattacharya, Namita Ghosh and Kalyani Ghosh -- artistes of Swadhin Bangla Betar Kendra. Namita Ghosh, the first female artiste of Swadhin Bangla Betar Kendra rendered Aji Bangladeshey khudhar agun and Banglar Hindu, Banglar Muslim. Kalyani Ghosh sang the familiar Gano Sangeet Nongor tolo tolo and Shono ekti Mujibor-er thekey at the event.
The Independence Day special programmes will continue till March 28 at the museum.
Lives of women: Disengaged and connected “Amader Kotha” by Drishtipat and Baithak
Actors in Amader Kotha. Photo: Vipul Sangoi
LOSS and reconciliation, in love and one's relationship with his/her homeland, are two of the recurring themes in Amader Kotha , a series of three shows featuring plays and dramatised readings exploring the experiences of women of Indian and Bangladeshi origin.
In the first section, Opor Pokkho: The Other Side , based on a Taslima Nasreen novella, two sisters -- one who has left home for the city and the other who still lives with the family -- read out a series of private letters, telling each other of their separated lives. The letters basically contain accounts of what they have been doing, whom they have fallen out with and whom they are in love with. Through these letters, the audience gets an insight into their lives -- distinct yet united at the same time. Their sense of isolation, longing and restlessness compounded by the confines of stage, seemed to act as a metaphor for their insular world.
In the second chapter, Drishtipat Creative presented a dramatic reading of Tahmima Anam's A Golden Age , under the artistic direction of Leesa Gazi. The novel, set against the backdrop of the Liberation War, focuses on Rehana Haque, a mother who loses custody of her children after her husband's death. The performance ambitiously marches through the novel: Rehana's fight to win back her children; break out of the war and their desire to do something for their country. Excerpts from the novel deftly convey the realities of war -- first through the eyes of a mother whose main concern is protecting her offspring and then, the children themselves, through their emerging sense of patriotism. Intermittent inspirational songs brilliantly intensify these feelings.
The concluding chapter, Sakhi: Friend, what is love? what is pain? , is a melange of unrelated stories on women, which appear to be threaded together by common experiences of migration. In one part, a newly married Sylheti woman is dispatched to her “Londoni” husband, 30 years older than her. She promptly finds herself in the lonely confines of a kitchen, making his daily rice. It's an all too familiar story. But stories from the Sylheti community rarely get told on the stage. Giggles from the audience, prompted every time the innocent bride spoke in the Sylheti dialect, had more to do with familiarity and it being a novelty to hear, rather than directed at her sad state of affairs. Each of the plays try to steer away from anything too dark that would convey victimisation, by bringing in colourful dance sequences and songs to encourage a sense of hope and resilience in the lives of these women in their new homes.
The event, a collaborative effort by London-based arts company Baithak and the creative wing of human rights group Drishtipat, should be applauded for putting on such an event. More aesthetically pleasing productions are quite possibly on the way, as both Sangeeta Datta, founder of Baithak, and Eeshita Azad, director of Drishtipat Creative, expressed interest in future collaborations.
All three chapters are firmly rooted in Bengal, but performed by artistes who live in Britain. It should be mentioned that Shirin Khan, the event's promoter, managed to bring together artistes from both West Bengal and Bangladesh for the first time in this country. For some in the audience, the performances roused feelings of nostalgia for a cultural homeland. And for others it was a journey into exoticism.
Burhan Ahmed, The writer is a contributor to Daily Independent, London.
Srijon observes Lalon's death anniversary
Cultural organisation Srijon held their monthly musical programme last Saturday. The programme at Poet Sufia Kamal Auditorium, National Museum on October 27 marked baul legend Fakir Lalon Shai's 113th death anniversary and featured songs of Lalon as well as popular adhunik songs from yesteryears.
The evening started with a rendition on saxophone by renowned flutist Moniruzzaman. The performance was followed by Lalon songs -- Amrito megher bari and Boli ma tor charan dhorey -- performed by Prakash Banik.
Renowned folk singer Chandana Majumder and Lalon researcher and singer Tapan Majumder sang Khanchar bhitor achin pakhi, Paap punyer kotha and more. Tapan Majumder also presented an essay on Lolon's life and philosophy.
In the second session of the programme, artistes including Jannat-e-Ferdous, Anupama Mukti, Shelu Barua and others rendered popular adhunik songs including Je chhilo dristir shimanaye, Kiney de reshmi churi, Abar kokhon hobey dekha and more.
Srijon, a cultural organisation, arranges musical programmes featuring songs from yesteryears, on the last Saturday of every month.
Echoing Nazrul throughout the nation
Mohammad Shafiqul Islam
Nazrul, an icon in Bangla literature, a torchbearer during the anti-Raj movement, a poet of the world, should be reminisced with due honour, solemnity and interest by Bengalis everywhere. Unfortunately however, a poet of his stature has not been properly evaluated yet. Despite his key involvement in the nation building, Nazrul remains a sidelined icon.
Nationalists over the decades have drawn inspiration from Nazrul's essays, songs and poetry, leftists have tried to portray the poet as one of their comrades, and secularists have quoted Nazrul in support of their position. Group of Muslims have fervently labelled Nazrul as a poet of Islamic renaissance, while there are others who, with equal vehemence, condemned and disowned him as a Muslim.
While every nation strives to promote their cultural excellence beyond its boundaries, we, Bengalis, seem to be quite content with lip service most of the time. Our cultural efforts, few and far between, remain sluggish. Most of us discuss or write essays on Nazrul, particularly around his birth and death anniversaries but a few days after those occasions, his works are left collecting dust.
Nazrul should be analysed, explored and remembered more often; as a nation we could demonstrate our sincerity and gratitude more. His messages of secularism, patriotism and universal harmony should reach every nook and corner of the country.
Our youth are strongly attached to the so-called ultra modern practices that are in reality little more then blind imitation of the Western culture. It becomes more regrettable when some Bangladeshis prefer Hindi songs to Bangla ones.
More so than ever, Nazrul's works should be available in all levels of education in Bangladesh. Nazrul should be included in the academic precinct, from primary to the higher level, with utmost significance. Educational institutions -- both government and non-government -- should observe Nazrul anniversaries with conviction.
Students at English medium schools are oblivious to our National Poet. They voraciously read Shakespeare, Milton, Keats and so on, ignoring our literature and culture. Studying English, Hindi, Urdu, Persian, French, Spanish, namely any literature should be encouraged but moving away from one's own heritage and literature is self-destructive.
Nazrul led a diverse life. He saw and lived with people from all walks of life -- affluent and deprived, weak and powerful, rustic and civilian. His experiences shaped his literature. He had a strong sense of equality of mankind, which enabled him to right verses like Gahi shammer gaan.
Nazrul was also very vocal about his feminist values. As a progressive personality of the time his stance was very liberal in the gender issue. He professed faith in the equality of women -- a view his contemporaries considered revolutionary. In his poem Naree (Women), Nazrul refers to what he sees as long-standing oppression of women, proclaiming their equality:
Whatever great or benevolent achievements
That exist in the world
Half of that was by woman
And other half by man
It is time to echo Nazrul's messages and ideals. Today the nation needs to unite, guided by in the light of Nazrul's immortal words: “Let people of all countries and all times come together. Let them hear the melody of harmony. Should a single person get hurt, all hearts should feel the pain. If one is insulted, let all heads bow down in shame…Time for the universal man to secure his place in the world…”
The writer is a Lecturer, Department of English, Metropolitan University, Sylhet
17th National Art Biennale July, 2007
The month-long 17th National Art Biennale ended on July 16 at the National Art Gallery, Bangladesh Shilpakala Academy (BSA). The exhibition arranged by the Department of Fine Arts, BSA featured 373 artworks by 247 artists. Apart from familiar forms like paintings, prints, sculptures, ceramics and installations, the artists have also presented digital painting and video installation. Veteran artist Aminul Islam was the convenor of the jury committee. Artists Abu Taher, Mahmudul Haq, Abdus Shakoor Shah and art critic Mainuddin Khaled were other members of the committee.
Ten artists were awarded by BSA. Debashish Pal, for his Contemporary Portrait of Bangladesh - 3, won the BSA Grand prize. Shahinur Rahman for his installation Zero: The Primary Unit received the Bengal Foundation Award. For Justice, Khalid Mahmud Mithu won the Arab Bangladesh Bank Award. The Shah AMS Kibria Award went to Uttam Kumar Roy for Target We and I - 35. Ahmed Shamsuddoha, for Aim 1, won the GrameenPhone Award. The Deepa Haque Award went to Gulshan Hossain for her innovative work Archaeological Report of Romeo and Juliet - 2. Faruk Ahmed won the Azizunnesa Fine Arts Award for Composition - 2. The BSA Honorable Mention Awards went to Tarique Zulfikar for Simulacrum - 2, Amirul Mominin Chowdhury for Nuhash and the Alien - 32 and Ashraful Hassan for Tree-man and Wall - 3.
Commenting on the success of the biennale, Nazrul Haque, director of Department of Fine Arts, said, "On an average, around 200 visitors -- most of whom are students of fine arts -- came to the exhibition each day. I believe this exhibition has managed to inspire the aspiring artists."
Some of the works at the biennale were admired by renowned artists. Eminent artist Murtaja Baseer, who has judged several national and international festivals, said, "The exhibition confirms that professionalism has developed among the young artists in our country. Quite a few works are notably innovative and the artists are using new mediums. Having said that, it should also be mentioned that several works are not up to the mark. I think the jury should be judicious during the selection process so that a particular standard is maintained."
On the other hand, some of the award recipients seemed a bit critical about the jury. Winner of AB Bank Award, Khalid Mahmood Mithu, said, "A few of the jury-board members have little idea on the latest art forms. This year we have encountered a new problem. Without mentioning the media, BSA has given us awards. The sponsors' names are mentioned like 'AB Bank Award', which is quite confusing as no one knows if it's a national award or not. Moreover, the management process was quite disorganised."
Winner of Bengal Foundation Award Shahinur Rahman also criticised the management process of BSA.
On this issue, Nazrul Haque said, "I can't do anything beyond the decision of the jury. We have made the certificates with full cooperation and approval of the jury."
News Editor of the Bangladesh Monitor wins award in Australia
Siddique Mahmudur Rahman
Siddique Mahmudur Rahman, News Editor of ‘The Bangladesh Monitor' and Assistant Editor of ‘Dhaka Calling' was awarded Bronze medal in Pacific Explorer 2005 Postage Stamp Exhibition held recently in Sydney , Australia for his multimedia database software ‘Stamps of Bangladesh'.
Pacific Explorer 2005 is a specialised stamp exhibition organised jointly by Federacion Internationale de Filately (FIP), Australian Philatelic Federation (APF), Australian Philatelic Traders Association and Australian Post. Federacion Internationale de Filately (FIP) is an organisation supported by UNO, UPU and UNESCO.
‘Stamps of Bangladesh ' is the only software and pioneering work on stamps in Bangladesh and whole of Asia .
All the postage stamps (more than 850) issued during 1971 to 2003 by Bangladesh Post Office have been included in this software. It also has a comprehensive history of the postal service of Bangladesh from prehistoric time to the present date. This history is the pioneering work too.
Siddique Mahmudur Rahman is an author, a translator of several books and a pioneering researcher of postage stamps and postal service of Bangladesh .
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