Nasir Ali Mamun’s ode to the Father of the Nation

Eminent photographer Nasir Ali Mamun's creative pursuit centers on the human portrait. His solo exhibition, Joy Bangabandhu, dedicated to the freedom fighters of Bangladesh and organised on the occasion of the birth centenary of Bangabandhu Sheikh Mujibur Rahman, opens at Alliance Française de Dhaka (AFD) tomorrow. HE Jean-Marin Schuh, Ambassador of France to Bangladesh will attend the event as the chief guest, while eminent artist Shahabuddin Ahmed will be present as the guest of honour.

As the celebrated founder of portrait photography in Bangladesh, Mamun, born in 1953, is best known for his extraordinary and soul-searing portraits of celebrities from diverse backgrounds, including arts and politics. Working exclusively in black and white, his body of work from 1972 onwards captures rare moments of humans in a spirit of discovery. In a career spanning five decades, Mamun has 58 solo photography exhibitions and fifteen publications to his credit. Today, he has found a place for himself amongst the artist community in India and beyond. He is currently working to establish PHOTOSEUM, a museum based on photography, in Bangladesh.

Just after the Liberation War of Bangladesh in 1971, Mamun's camera defined portraiture in Bangladesh, which eventually ushered in portrait photography in the country. Being 'the poet with the camera', Mamun has taken some of the most iconic portraits in Bangladesh. His black and white images display a beautiful, yet enigmatic and equivocal coalescence of light and shadow. Mamun took many portraits of Bangabandhu in the early seventies, and recorded his rare moments closely.

As a young boy, Mamun witnessed some iconic speeches by the Father of the Nation. He also learned about the great leader's achievements from his father and grandfather. As a consequence, Bangabandhu was a focal point of exploration for Mamun when he started photography.

His encounters with Bangabandhu, beginning in 1964, are memorable. Young Mamun did not have a camera when Bangabandhu, the child of an ordinary middle-class household, became the saviour of a nation's oppressed population. However, he came to realise Bangabandhu's importance as a leader. In 1970, during the general election, Mamun managed a camera, which gave him a window to capture the great man. The photographer has portrayed Bangabandhu in different capacities and frames, with an equation of emotion and intelligence, to bring the enormity of his personality to light.

During his election campaigns in 1970, Bangabandhu spoke at the Outer Stadium to inform the distant masses of the Pakistani misdeeds and pray for salvation of the lives lost at the hands of the military oppressors. Mamun photographed him during the speech, as he emboldened citizens of a soon-to-be independent Bangladesh and during his return to an independent Bangladesh on January 10, 1972. He also captured Bangabandhu standing in front of the public during his iconic speech on March 7, 1971. Around 25 works, including previously unpublished historic photographs of Bangabandhu and our freedom fighters, will be on display at the exhibition.

The iconic imagery of the Father of the Nation that is embedded in the civilization of Bengal is not merely of an idol or sculpture. Rather, it is specially seen in modern media through Mamun's photographs.

It is difficult to interpret the personality of Bangabandhu without understanding the contexts of his photographs, which often put him against the backdrop of human oceans, or clear blue skies. Both these symbols illuminate his portraits by Mamun, who has selected low-angle images and applied top or high angles to connect the great leader with the crowd. If we were to draw comparisons, the relationship between Mamun's viewpoints with the style of artist Shahabuddin does not conflict. Shahabuddin never painted a picture of Bangabandhu with his exterior mannerisms in mind. But his paintings, depicting the immense brilliance of the Father of the Nation, unflinching in the eyes of oppressors, while never contemplating death threats, also personify Bangabandhu's magnitude as a visionary statesman. Although Mamun is not related to the artist, he his photography draws parallells to Shahabuddin's art, as Mamun captured Bangabandhu's greatness through the language of the light.

After the inaugural ceremony, Joy Bangabandhu will be open to all till March 24. The venue will be closed on March 13 and 14.