As I walked into Kalakendra in the capital’s Lalmatia area, I was unsure what to expect from Kabir Ahmed Masum Chisty’s solo exhibition, “Meghnad Badh”, curated by Lala Rukh Selim. I did not personally know the artist or his body of work, yet I was drawn to the premise—a visual reimagining of “Meghnadbad Kabya”, Michael Madhusudan Dutt’s magnum opus that transformed the perception of a character largely dismissed in the mainstream “Ramayana”. What struck me most was the exhibition’s engagement with what Sibaji Bandyopadhyay, in his book “Three Essays on the Ramayana” calls ‘dispersed textuality’—the idea that an epic exists not as a singular, authoritative narrative but as an intricate, layered text that absorbs contradictions and alternative voices.
As I walked into Kalakendra in the capital’s Lalmatia area, I was unsure what to expect from Kabir Ahmed Masum Chisty’s solo exhibition, “Meghnad Badh”, curated by Lala Rukh Selim. I did not personally know the artist or his body of work, yet I was drawn to the premise—a visual reimagining of “Meghnadbad Kabya”, Michael Madhusudan Dutt’s magnum opus that transformed the perception of a character largely dismissed in the mainstream “Ramayana”. What struck me most was the exhibition’s engagement with what Sibaji Bandyopadhyay, in his book “Three Essays on the Ramayana” calls ‘dispersed textuality’—the idea that an epic exists not as a singular, authoritative narrative but as an intricate, layered text that absorbs contradictions and alternative voices.
