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Mid-twentieth century Pabna: Upon her aunt's insistence, a frightened little girl hesitantly stands in front of the one-eyed box covered in black cloth. The object looks like a square-headed monster on a tripod. Who would have imagined then that the little girl would one day capture the world with this very object? “I never thought that this camera will one day become my life partner,” chuckles Sayeeda Khanam, Bangladesh's first woman photojournalist.
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On March 25, The New York Times ran a story about Americans stepping up to face the coronavirus pandemic by sewing masks for their healthcare providers as well as the general public.
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Still bearing the trauma of her last dialysis, Marjia Rabbani Shoshi was speaking with a smile until the subject of the Organ Transplantation Act 1999 (amended in 2018) came up.
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Women have always been a common subject in visual art, but not so much in the role of an artist. For centuries, their thoughts and expressions remained hidden from public view and crushed under the weight of patriarchy.
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“…Then after dark, a tentative ‘Joy Bangla’ in the back streets. Older men came out and persuaded the lads back into their homes; ‘there is still a curfew’. Then a more determined ‘Joy Bangla’. The Mukti Bahini had taken over the streets.
