From bricks to walls

International Women’s Day Special
Those who made a difference

“One of our favourite pastimes was to gather with our friends on the rooftops and practise broto-chari...with the daily laundry strung as 'tents' off course,” my mother would tell us whenever women's movement came up in the conversation. Here they learnt the simple dance and songs which led the way to Bratachari Movement, initiated by Gurushodoi Dutta.

With so many forces barring women's freedom, this was the only acceptable compromise. Little did anyone know how these simple routines would slowly evolve and inspire women to emerge from their age-old confines. Dr. Nurun Nahar Fyzennessa (my mother), had been at the forefront of women's movement for over 50 years and I believed her when she said that the greatest changes could start from something seemingly insignificant.

The brotochari dance encouraged patriotism, secularism and most importantly physical and psychological fitness amongst the youth. Progressive families championed the spirit of education and culture even amongst girls. A handful of girls who were emboldened with such opportunities soon stepped into the world beyond their courtyard. This was the beginning and soon the time would come when that step would take women on to the stage of performing arts, in essence the very core of society.

The radio of course played a significant role. After the 1947 partition, the first radio station was on Nazimuddin Road in old Dhaka, the then city centre. Perhaps, out of sight of viewers, the radio was the most attractive channel for women to perform for the audience and yet maintain their privacy.

Vocalists Afsari Khanam, Anjali Mukherjee, Malika Perveen were joined by legendary voices of Feroza Begum and Laila Arjumand Banu. The golden era of music in erstwhile East Pakistan (during 1955-60) was led by Ferdousi Begum, Anjuman Ara Begum, Mahbuba Rahman, Farida Yasmeen, Nina Hamid, Sanjida Khatun and Farida Bari Malik to name a few. After Liberation War, the momentum was nurtured by a host of talented artists from Sabina Yasmeen, Shahnaz Rahmatullah, Runa Laila, to Papya Sarwar, Nilufar Yasmeen, Shabnam Mushtari, Rezwana Chowdhury, Farida Parveen and other reputed artistes.

The theatre world was not far behind. I often heard stories from my mother about how very few women initially joined the drama circle when she herself entered the scene along with Madhobi Chatterjee, Nomita Anwar, Lilly Chowdhury, Biju Mustafa and much later Ayesha Khanam, Mirana Zaman and others. In films Sultana Zaman, Reshma, Sujata, Sumita Devi, Shabnam, Rosy and later Kabori, Babita, Shuchanda also joined in gradually.

Then there was Khelaghar, an immensely popular radio programme aimed at nurturing the budding talents way back in the mid '60s. Shahnaz Rahmatullah, Sabina Yasmeen, Shaheen Samad, Sabiha Mahbub, Abida Sultana and myself appeared almost every Sunday, then the weekly holiday. Children gathered from all around the city to sing or recite a few lines from poems. Dr. Fyzennessa initially conducted the programme and after a decade, Hena Kabir took over.

Over the years, some of the leading dancers to grace the stage were Rahiza Khanam, Laila Hasan, Sharmin Hasan, Dahlia Salauddin, Kajol Ibrahim, Lubna Marium, Zeenat Barkatullah, Shamim Ara Nipa, Munmun Ahmed and others.

The changing role of women progressed slowly from the makeshift tents on rooftops, to centre stage to public media -- growing from strength to strength. Change needs a face, and these spirited artistes leave a lasting image of the women's movement. Let us take a moment to honour women everywhere, not only as a part of today's agenda, but to treasure them as role models who inspire many.

Source: The Daily Star

“Otoshi Mami”: Manik Bandopadhyay’s first published story comes to life

On the occasion of pioneering Bengali litterateur Manik Bandopadhyay's (1908-1956), birth centenary, Production house Splendor premiered the telefilm "Otoshi Mami," an adaptation of Bandopadhyay's short story with the same title, on March 5. The film was screened at Bengal Shilpalay. It should be mentioned, "Otoshi Mami" (1935), was the first published story by the author.

Simon Zakaria adapted the story for the film. Humayun Kabir Himu and Parvez Amin jointly wrote the script and directed the 72-minute film. Bannya Mirza plays the titular role while Ahmed Rubel, Jhuna Chowdhury, and Shoeb play other important characters in "Otoshi Mami".

The story deals with a group of people who believe that art is larger than life. The film begins with young Suresh (Shoeb) playing flute. His uncle, Horen (Jhuna Chowdhury), discourages him, telling him the story of his flutist friend, Jatin. According to Horen, if one heard Jatin play the flute, he would never wish to play the instrument again. Curious, Suresh sets out for Jatin's place. At Jatin's, Suresh meets a man who is ready to sacrifice his life in the pursuit of his craft. A devoted artiste, Jatin (Ahmed Rubel), is dying from tuberculosis and every time he plays the flute, he has to pay a heavy price with blood-tinged cough. Suresh also meets the flutist's young, beautiful and devoted wife. The woman, whom he calls "Otoshi Mami," particularly impresses Suresh and he is strongly moved by her determination to prevent her husband from playing flute. Years later, Suresh comes across Otoshi again, this time on a train, garbed in all white.

With strong performances by the actors, the telefilm becomes a poignant narrative. The directors seem quite aware of each and every detail. Background score by Komol Khaled is complimentary to the production. In certain scenes, however, the audience found the film a bit dawdling. Sheikh Saiful is the cinematographer of the telefilm.

Exquisite Bonsai Exhibition

A four-day Japan Cultural Festival began at the Bangladesh Shilpakala Academy (BSA) premises on March 4 with an exquisite bonsai contest and exhibition. The Embassy of Japan and BSA have jointly organised the festival, which will end tomorrow with the staging of BSA's Japanese theatre production, "One Hundred Sacks of Rice", at the National Theatre Hall. Screening of a Japanese animation film, "Nobita's Dinosaur 2006", is also on the cards.

On March 4, Masayuki Inoue, ambassador of Japan to Bangladesh, inaugurated the festival at the National Art Gallery. In his speech, Inoue extended his condolences to the victims of last weeks' tragic incident at the BDR headquarters and their families.

The organisers have had to reschedule and cut short the eight-day programme (earlier scheduled to start on February 28) to four days and have had to cancel a four-day ikebana exhibition.

Among others, Bhuiyan Shafiqul Islam, director general of BSA, was present at the programme.

The bonsai exhibition is jointly organised by Bangladesh Bonsai Society (BBS) and Japanese Embassy. The exhibition featured nearly 100 miniature version of trees including common Bangladeshi trees like Bokul, Tetul, Pakur, Hijal, Bougainvillea and Kamini.

Bonsai has flourished in Japan as a creative art and epitomises scenic beauty, seasonal moods and the natural environment. Bonsai enthusiasts believe that this art reflects our love and concern for the environment and for trees in particular--which transforms gigantic trees to miniatures and suitable for homes.

Since 1999, the Bangladesh Bonsai Society has undertaken creditable efforts to promote this Japanese art. At present, apart from Dhaka, the society has extended its branches to Rajshahi, Sylhet and Habiganj.

Three of the best-exhibited potted plants will be awarded at the exhibition.