Towheed Feroze
Dhaka, Feb 8 (bdnews24.com)— If diversity is the apt term for a globalised world then Chobi Mela V, the International Festival of Photography, Bangladesh 2009, currently showing throughout the city, is a crucible for a unique variety of photographic subjects.
From war to everyday social habits to simple personal experiences like basking in the past, the range of exhibitions has been not just varied, some go beyond being a show and transform into a social message.
Challenging the formulaic and stereotypical interpretation of Hijab, the show "Women, more than a veil" by Isabelle Eshraghi at Alliance Francaise tries to overcome the layer of ignorance that has been so callously stamped over women trying to amalgamate Islamic beliefs and assimilate modern roles.
This exhibition dares to question the myth that a woman following the Islamic rules of Hijab cannot be a global citizen, and at the same time brings out the superficiality in the common western outlook that shun the Hijab as a medieval practice.
In all the works, women in veils are caught in different social scenarios from studying and making merry to facing life's tribulations and the veil does not seem like an encumbrance at all.
Knocking preconceived ideas about the Hijab, at a time when looking for an Islamic link to almost all social anomalies has become a western trend, this show says – unequivocally - that wearing the veil should not mark a woman.
At Drik, the main focus is the show Bangladesh 1971, and with an all out effort from all quarters just now to keep the spirit of liberation alive, this show will be captivating for the new generation.
Chobi Mela aside, of late we have seen the spirit of the liberation war presented in fashion, in books and in music and the product has been a solid sense of patriotism that many say was reflected in the December elections.
In a spirit of freedom, this exhibition of slices from 1971 captures the woman fighter, the muktijodhha, the masses up-rising, the remorseless killing of ordinary people and scenes of victory.
1971 was a time of extremes. Mothers lost sons as terrifying action was taken to suppress the democratic call of a nation. Millions were displaced as a nation of peace loving people rose up in defiance. Patriotism was defined as the greenery of Bangladesh was stained red with the blood of young men.
The Drik exhibition presented unseen photos of the war and again the aspiration of this show was beyond that of the Chobi Mela – it aimed to keep the flames alive.
Drik's Gallery-1, meanwhile, presented the works of Argentine photographer Marcelo Brodsky and these were mainly a man's look into his past. Pregnant with the theme of nostalgia, the works compel as a faded photograph relates a story of days gone by.
Bengal Gallery showcased another armed struggle – that of the Nepalese people and again the faces of war were placed before us – grim, gritty yet full of passion.
Set against the mesmerising beauty of the Himalayas, the photos put forward a struggle that has seen countless deaths and an end to many a Himalayan dream.
The contrast here is staggering – on one side there is the serenity of nature and on the other is the gun – two opposing forces brought together by necessity.
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