Siege of Drik Gallery

New Age Editorial

DAILY STAR Editorial

Tags: Art, censorship, culture, democracy, exhibition, Freedom of Expression, Law, Photography, police, RAB, Shahidul Alam

Traces of Absence

An exhibition of photographs by Shahidul Alam

There is a wall running along a street. The writing on it is fragmented and cannot quite be made sense of. The image was taken in the middle of the night and a yellow glare was allowed to invade the site, as the wall slipped away at an angle. A shadowy presence barely registered on the shot. This urban setting, one is tempted to say, could be nothing but the scene of a crime. The sinister, uneasy beauty of this work by Shahidul Alam informs other images that are part of his new series, again and again. Others are eerie, otherworldly; and others still, seem familiar yet are anguished, as if the common ground for existence was being subtracted from the picture altogether.

Photography is usually taken at face value and recognized as the construction of a factual world, and celebrated as such, for facts possess a no-nonsense value – or so we would like to believe – that will hopefully help us to get things crystal-clear in the mind. The printed image is envisaged and expected, by the many who support this view, to be self-evident, and self-explanatory, too.

To transform photography into the art of tracing an absence is not a method that is self-evident, and yet a case can be made for it: the print, which is an image on its physical support, is one more object added to the world and is often made to stand for what once was, never to be fixed or grasped in the same manner again. But in the images of this series, what is it we are missing that fills us with anxiety of some kind or another? When acutely perceived, an absence stops us in our speech, it wracks and unnerves us; it unsettles the mind. Absence, as a matter of fact, can be identified, can be lingered on and felt, but cannot be quantified and any attempts at giving a qualified description of the feelings involved are bound to fail.

Whatever one is led to believe should be expected of contemporary photographic work in the documentary mode, this series challenges starkly. Artificial lighting has been used throughout and its effect is not just strange but painful. The series offers no narrative to behold but the images hold together, perhaps because their author finds different ways to remind us that we will not find a place to rest our heads in them. These are nocturnal viewings in a sleepless night.

Jorge Villacorta

Curator

More at:

New York Times Review

Photo District News

Rights Exposure Review

Front Page Manob Jomin (Bangla)

Ex Ponto Magazine Netherlands

Lawyers protest

Tags: crime, curating, disappearances, extra judicial killing, governance, human rights, justice, Photography, RAB, Rapid Action Battalion, Shahidul Alam, Violence

RAB’s Photo Sessions and the Visual Construction of Criminality

By Rahnuma Ahmed

The title of my column is somewhat misleading, I think it’s best to state that right away. Intrigued by the press briefings that RAB (Rapid Action Battalion) offices hold every so often where `criminals’ are displayed alongwith crime artefacts laid out on long rows of tables—guns, machettes, grenade-making equipment, stolen cash—as evidence of their criminality, images which are served up on the news of all private TV channels, which are printed a day later in the newspapers, I had thought of conducting research on these photo op sessions. I had wanted to examine these as `sites’ that are organised and arranged by the organs of the state, by the functionaries of the state, ones that construct criminality through visual means, i.e., still photos and video recordings of criminals, their tools, the loot. RAB, for the few who may not know, falls under the jurisdiction of the ministry of home affairs, its members are seconded to the battalion from the army, navy, air force and police, a measure which, according to its critics, eases in the carry-over of its culture of gross abuses and impunity to other parts of the security forces.

RAB Photo Session

My interest in RAB and its activities, as many of my readers probably know, is not new. It re-surfaced recently, however, because of several incidents which gave rise to thoughts, ones that not only refused to go away but dug deep into the soil and grew shoots.

It surfaced as I poured water over a waterproof camera that Shahidul Alam, my partner, held underneath. He was working on re-creating images of water-boarding for his upcoming photo exhibition on torture. I concentrated on carrying out his instructions, on not thinking about how I would have felt if an actual head had been in the bucket. It surfaced languidly as I heard Nurul  Kabir ask third year students of photography—he is currently teaching a course on Media and Politics at Pathshala—to reflect on how the Bangladeshi media participates in non-violent means of ruling. On how it seeks and gains people’s consent to ideas which work against their interests. Drawing instances from how the media had significantly contributed to making Sheikh Hasina and Khaleda Zia, women with no political experience, into `national’ leaders, on how intellectuals, writers and journalists gratuitously offer the view that the nation’s problems would be solved if only the two women would meet and talk to each other, Kabir moved on to a discussion of ideological state apparatuses (the ISA’s, as those familiar with the French Marxist theorist Louis Althusser’s ideas, know). While listening to him, I thought of RAB’s crossfire deaths and how it had simultaneously constructed, and cashed in on an idea of meting out instant justice in a situation of deteriorating law-and-order and a failing criminal justice system, a situation for which the government, of course, was ultimately responsible. I then thought of how it was increasingly becoming difficult for crossfire deaths to garner public support, even of people who supported the government on all other counts. But what about RAB’s press briefings? What did they construct, and what did we consume by watching images of these on television, or through seeing printed pictures?

Mug shots, or photographic portraits of arrested people, taken by police photographers at the police station is not something that is practised in Bangladesh. The genre of photography and framing that has developed since RAB (inaugurated in March 2004) began its press briefings seems unique to Bangladesh, and to its visual history. Through my network of photographer friends I got hold of about sixty photographs, and sat looking through these, scribbling notes while I did: RAB officials conducting security searches on buses. Squad dogs snarling at each other. A pair of startled eyes of a young man, the alleged criminal, in front of whom lay a table full of machettes. He seemed to have been hauled up and planted in front of the table. Three young men, guarded on either side by two RAB officials, but although they seemed to be in the middle of a forest, strangely enough, they had A-4 sheets with their names, computer-composed and printed, hanging on their shirt fronts.

I then turned to dozens of photographs of press briefing sessions. These invariably, with one or two slight variations, had `criminals’ standing behind a long table, covered with a white table cloth, a banner behind announcing the number of the battalion (twelve in all), the alleged criminal or criminals guarded by armed RAB members on either side, criminal artefacts in front. The names of those caught, `Mohd Rafiqul Islam, illegal woman trafficker,’ a meticulous description of what was recovered, `125 bhori gold ornaments,’ `ten thousand US dollars,’ often neatly affixed. To the person. To the object. Reminiscent of colonial inventories.

I spoke to a photographer who has covered nearly a hundred RAB events in the last 4 years. He spoke to me on condition of anonymity. So what happens, I asked. Well, the press, from the channels, from the dailies, we all go at the appointed time. We go to a large room, a hall room. There are chairs for us. It takes about half an hour, the criminals are brought, we are briefed on the crime, what happened, who was caught, with what. We take photographs. I prodded and he said, well, what the RAB official says, and what the alleged criminal says seem to be based on the same script. Does anything ever untoward happen? Have you seen any such thing happen? Oh no, he replied. It’s all very neat, very well-organised. No ruffles, none whatsoever. So, why do they do it? Why do they go to the trouble? I think because they get free publicity. I wondered to myself whether it had made crime reporters and investigative journalists lazy. So, you mean, it’s a package? Yes, his eyes lit up. It’s all pre-packaged, you get everything all at once. Sometimes, he said, I think, it is arranged to divert attention. Whose? Well, the media’s, and thereby that of the public. For instance? If you remember the whole Yaba thing, when it blew up, most of those who were paraded before us were Yaba addicts, there was such a big circus over it but none of the really big fish were caught. So, what makes you think it’s stage-managed? Well, two things. If we see something happening on the street, and RAB is there, in action, and we go up to take photographs, they behave very badly. They’ll snarl and say, `Do you have any permission?’ They beat up a Jugantor photographer once. But then the next thing you know, they’ll organise this elaborate press briefing at their offices and parade these so-called criminals with ten-or-so Phensedyl bottles laid out on the table. And they also offer us tea, snacks. We don’t want their nasta, we want to work, I want to take photographs because I think I am accountable to the public. As he spoke I thought to myself, surely, these staged photo ops violate constitutional rights? What does one call them, a sort of media trial, held in what, RAB’s court? Aloud, I asked, what strikes you as most odd about these sessions? Well, when they put on their sunglasses, I mean we are inside the building, inside a room, there’s no sunlight but these guys put on their dark glasses just before we start taking photos.

I return to examining the photographs. There is one set missing, I think. A set that none of us will probably ever get to see. Those that RAB officials are said to have taken of New Age’s crime reporter F Masum after they beat him up outside his house for failing to open the gate with alacrity. According to him, they later dragged him into his bedroom, placed six Phensedyl bottles in his pillow case, stood him beside it. The camera clicked.

First published in New Age on Monday 16th November 2009.

High Court orders government to explain killings.

Tags: contempt of court, criminal, Death, Extra Judicial Killings, impunity, Law, media, media trial, Photography, RAB, Rahnuma Ahmed, torture

Bangladesh Now

The Rapid Action Battalion (RAB) were setup as a crack team to support law enforcement. Numerous accusations of extra judicial killings have been attributed to RAB, usually followed by a government press release about people having died in a ‘crossfire’. © Munem Wasif/DrikNews

Dark glasses, black bandana, arrogance in his face. ‘The Protector’ strides with purpose. A new word enters our lexicon. You can now ‘crossfire’ a person. No questions asked.

Hanif, a mill worker, was shot dead by the police during a protest rally organised by the workers. Two hundred workers were injured. Crescent jute mill, Khalishpur, Khulna, 11 September 2006. © Munem Wasif/DrikNews

She mourns in silence. Her man, a worker in a mill, is no more. His crime? Demanding payment for his labour.

Workers protest on the streets of Khalishpur, even during emergency. © Munem Wasif/DrikNews

A child screams.

Soon after coming to power, the caretaker government ordered all illegal constructions and slums be torn down. Those affected do not know where to find shelter since laws and their interpretations are mostly anti-poor. Dhaka Bangladesh. 24 January 2007. © Munem Wasif/DrikNews

Evicted from a slum that offered little, his parents in search for even less.

Muslim and Adivasi women unite in their fight against multinationals. Phulbari Bangladesh. 30 September 2006. © Munem Wasif/DrikNews

These green fields will disappear if coal mining starts. Phulbari Bangladesh. © Munem Wasif/DrikNews
Angry women protest the illegal hand-over of their land to multinationals.

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Choles Ritchil killed in custody

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And the missing photograph. The one we cannot show. The one of the Adivashi leader tortured and killed in custody. He too had the temerity to resist government takeover of his ancestral land.

A member of Rapid Action Battalion (RAB, Bangladesh’s elite security force), checks the grounds with a dog squad to ensure security of the 14 party led Awami League’s grand rally the next day. Paltan, Dhaka Bangladesh. December 17 2006.
© Munir uz Zaman/DrikNews

Ratan Kumar, suspected of stealing a gold necklace, was tortured at Bogra Police Station. This photograph (taken with a mobile phone) was published in a daily newspaper, resulted in police officials seen in the picture (the officer-in-charge, three sub-inspectors and a constable) being suspended from active duty. Bogra Bangladesh. 28 January 2007. © DrikNews

Police fired tear gas shells and rubber bullets to stop agitated students at Dhaka University campus. As protests engulfed the nation, curfew was declared in 6 divisional cities from 8 at night. A student hurls back a tear gas shell. Dhaka Bangladesh. 22 August 2007.© Azizur Rahim Peu/DrikNews

Now is a difficult time. A time for reflection, a time for retrospection, a time for defiance. Sadly for most Bangladeshis, now has always been difficult. Apart from the brief euphoria after independence in ’71, there were the lesser joys when the autocrat left in ’90, on winning a Nobel peace prize in ’06 and even temporary relief when emergency was declared in January ’07. But those feelings have been short-lived. Particularly for the poor. When elephants clash it is the grass that gets hurt.

Soldiers and rescue workers recover a child’s body from landslides caused by heavy rains on the deforested hills of Chittagong city. One hundred and six people died, many more were injured. Chittagong Bangladesh. 12 June 2007. © Tanvir Ahmed/DrikNews

A woman mourns the death of her family members, all of whom died as a result of the mudslide. Chittagong Bangladesh. 12 June 2007. © Tanvir Ahmed/DrikNews

Life is fearful for a slum-dweller. When will she face the next eviction? Dhaka Bangladesh © Munem Wasif/DrikNews

Arrests in the night, the brutality of high prices and the daily grind of poverty are the realities that wear people down. But they are warriors. Despite the weight of unjust governance, despite the price they always end up paying, they still protest. And the photojournalists? When justice is compromised. When the poor are trampled under the march of ‘reform’. When fear evokes silence. When familiar faces turn away. To stay ‘neutral’ is to stay aloof. They stand on the side of the oppressed. Unashamedly so.

Rickshaws without proper licenses seized by police and dumped near Police Control room. Rickshaws are environment-friendly and affordable by the middle class and often the only source of paid work for men migrating from villages in search of work. 17 February 2007. Dhaka Bangladesh. © Munem Wasif/DrikNews

A village woman dries dhan (husked rice grain) as flood waters recede. Chilmari, Rangpur. August 8 2007. A village woman dries dhan (husked rice grain) as flood waters recede. Chilmari, Rangpur. August 8 2007. © Munem Wasif/DrikNews

On Tuesday the 4th of September 2007 DrikNews will hold its inaugural photographic exhibition “Bangladesh Now”. The photographs shown are a selection from the exhibition.

The exhibition will be opened by Nurul Kabir, editor, New Age, who will share his views about the current situation in Bangladesh,
before the opening. The program starts at 5.00 pm.

Drik will be 18 years old on that day. We’d like you to be with us

Tags: Caretaker Government, justice, police, RAB, Shahidul Alam, Slum Eviction, torture