A Marma girl in joy after a catch of a finger size fish in Kaptai river

PHILIP Gain's photography exhibition at Drik is a revelation of our forest life and culture. The focus of the exhibition is on the forest people, specially the indigenous communities, who have lived in harmony with nature and used the forest for their livelihood. Plantations and legal reforms have rendered the people of the forests illegal residents on their own traditional homeland.

A portion of the display relates the distinct cultural life of the ethnic communities.

Despite all the ruins in the public forest lands, the photographs tell of the ethnic identities, ethnic cultures and more. The images communicate how essential it is to protect the ethnic communities with their songs, dances and their need for space and protection. The exhibit tells the story of drastic depletion of our forest traditions. In his search for the images and issues of the forest dependant people he has come in close proximity to the forests. He makes his viewers aware of the beautiful hearts, minds and hospitality of the different forest dependent people. The pictures make the viewers aware of the underlying factors for the deforestation and the miseries of the forest people who are often wrongly blamed for the destruction of the forests. Philip Gain has tried to capture the beauty and pain of life in the forest.

There is the depiction of Modhupur forestry being converted into wasteland. There is the presentation of how poisons have infiltrated the farming in the name of pesticides and plant hormone. There is the delineation of Modhupur women protesting against the laws of the forest department. Oil giant Unocal is setting up a gas pipe line through Lawachara National Park and many feel that this might ruin the park, a protected area.

There is a picture of a mother and child and below is the caption saying how she and her child have been rendered illegal occupants as the land in which she once lived now produces pulp wood for Karnaphuli Paper Mill. A photo of Lyngngam of Netrokona depicts Khasi women in Netrokona. Intermarriage and socialisation with the Garos have extended their kinship to an extent, but they retain their distinct language, identity and culture. "Face of the oppressed" brings in the tea workers of Srimangal. Each tea worker represents the face of the downtrodden.

In contrast is the dance of the Rakhaings of the coastal areas where the local girls dance to solicit blessings of Lord Buddha. Godaia dance of Tripura is another celebration during Chaitra Shankranti, the last month of the Bengali calendar. Rukha-Tla, a bamboo dance, is the most favoured dance of the Baum community, and it is shown being performed with care and passion. Next Tripura women dance, while presenting folklore and songs. Songs and dances are integral part of the life of the Tripura people. The women are seen with necklace of beads, heavy bracelets and earrings of silver. The Pankhua Para girl from Chittagong is equally gay and spirited.

Thus Philip Gain's photographs are a mirror of the fears and pleasures of ethnic life in Bangladesh.