A small poster can destroy dominant narrative: Asif Nazrul

Law, Justice and Parliamentary Affairs Adviser Dr Asif Nazrul today said through the July revolution Bangladesh has witnessed that only a small poster may have enormous strength to destroy a narrative remained dominant for years and it also can help build new narrative.

“A single poster can destroy the narrative in pieces which remain dominant for years and help build a strong and effective new narrative. During the July revolution, we saw how powerful and effective graffiti can be”, said Asif Nazrul.

The adviser was speaking at the opening of Artists Debasish Chakrabarty’s poster display, “July Uprising in Poster,” which was held at Bangladesh Shilpakala Academy’s National Art Gallery auditorium.

According to Asif, every move and choice made during the July insurrection was innovative, which contributed significantly to its success despite the sacrifices, difficulties, and restless nights.We were unaware that graffiti could have such a significant impact on the political movement over the past fifteen years. However, our young people used it in a remarkable way to open up new possibilities in this area,” he remarked.

From naming the programme to painting graffiti or making posters, the language of movement was so basic that the fascist, conventional narrative builder, even failed to identify the opportunities to destroy it, he said, adding, “The exceptional and basic language of conducting movement played a significant role to make our July revolution successful”.

The adviser said, “During the fascist regime, we witnessed how nasty and at the same time how strong the tactics of building narratives are. The fascist regime used to give us the concept that Bangladesh is about to be developed like Singapore but in reality, those remarks are nothing but falsehood”.

Syed Jamil Ahmed Debasish, the director general of the Bangladesh Shilpakala Academy, clearly demonstrated in his artwork the duties of an artist as well as how the arts may serve as both a political tool and an artistic medium.

According to Jamil Ahmed, Debasish’s artwork exemplified exactly what the language of art should be throughout the post-uprising era.

Managing Director and Chief Editor of Bangladesh Sangbad Sangstha (BSS) Mahbub Morshed put emphasis on highlighting and preserving the artworks and graffiti which reflected people’s voice and feelings during the student-led July uprising.

“We should preserve and appreciate the artists and artworks that conveyed the voice of the masses during the revolution as most of the artists didn’t come out from their comfort zone and didn’t raise voice against the dictatorial rule and crimes committed by the fascist regime during the movement”, he said.

“I don’t think the artist is not only meant for arts and aesthetic works but they have more things to do,” stated Shahidul Alam, a photographer and rights activist from Bangladesh.”I don’t understand how an artwork could be considered worthy if its creator doesn’t speak up,” he continued.

Abdul Halim Chanchal, director of the production department at Bangladesh Shilpakala Academy, author and researcher Parvez Alam, and Mostafa Zaman, director of the fine arts department at Bangladesh Shilpakala Academy, also spoke at the event.

Artist Debasish Chakrabarty participated virtually in the first session.

The live and RVR interactive exhibition will remain open for all till January 19, every day from 11am to 8pm at 5th gallery of Jatiya Chitrashala Bhaban of Bangladesh Shilpakala Academy.   

Mridha Shihab Mahmud is a writer, content editor and photojournalist. He works as a staff reporter at News Hour. He is also involved in humanitarian works through a trust called Safety Assistance For Emergencies (SAFE). Mridha also works as film director. His passion is photography. He is the chief respondent person in Mymensingh Film & Photography Society. Besides professional attachment, he loves graphics designing, painting, digital art and social networking.
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