The Bangla response to Netflix’s EXTRACTION is predictable; we surmise the outraged viewers from Dhaka have helped propel the film to #1 on Netflix. Towheed Feroze‘s complaint is, ahem, accuracy: “The police are seen driving Indian-made Hyundai cars; our police does … Continue reading EXTRACTION: Hullaballoo in a Orientalist Orchard
By Ahmad Ibrahim On 7 February 2016, Indian artists Ritu Sarin and Tenzing Sonam had their photographs and art installations removed from the Dhaka Art Summit taking place in Shilpakala Academy. Huffington Post (India), Indian Express, and the artist Tenzing Sonam’s … Continue reading Tibetan Artists Silenced at Dhaka Art Summit
Liberation through the Gunday lens By Fahima Durrat for AlalODulal.org
Factual errors made in a fictitious storyline may seem like a trivial matter, but they can hide icebergs. The iceberg that showed its tip in the film Gunday seems to have reappeared again in the headlines of Indian newspapers. Bangladesh protests against “distortion” of history, they report. Those inverted commas reveal a deeper source of offence.
There is a particular way of lensing mass movements, when we are observing from within immediate tactics. In a fast moving situation, with opponents and allies squared off, the first thing to shrink is the space for internal critique. Professor Azfar Hussain uses the term “critical solidarity” for his approach to Shahbagh. A critique that seeks to help the movement, but also a critique some are not ready to hear yet. Continue reading “Shahbagh: The forest of symbols”