Harking to our heritage

Trendy clothes from traditional fabrics

Asked to comment on the two documentaries Masud said, "The first one was about 'gamchha' makers and was called 'Nastik', who made beautiful handiwork but their lives are being reduced to nothingness." Touching on the technical aspects, "I believe the producers and directors are definitely promising; they can be very inspiring for other young film makers. When documentaries are considered a lesser art it warms my heart to find the young video makers giving creative poignancy to their work: the work is not flat commentary. The use of music was natural and emanated from the themes and subjects: the mystic 'bauliana' songs somewhat reflected the state of existence of the protagonists, which were more rich and relevant than the use of the songs by Bhupen Hazarika or Shumon Chattapadyya's which were somewhat forced. Makers' personal liking often tend to come in willy-nilly, whether the situation demands it or not.

"The second film 'Matir Pinjira' was better than the first one in some aspects, specially as regards capturing life in the minimal scale: it brought in the bigger problematic issues involving human struggle as well as beauty. Structurally it is well composed. In terms of subject it appealed to me more, personally i.e. in terms of subject, 'Nastik' was more touching as it involved a wide-eyed child singing a song which belonged to the adult world but which reflected the pain in his heart. I preferred the beat of the 'tablas' in 'Nastik' which were brought in with subtlety at the beginning and end. The recurring shots gave a poetic structure to the documentary, which, I believe, was very important. This was even though the shots were sometimes static: there could have been some more variations in them. However, it is easier to point of faults rather than avoid them oneself. The overall impressions were meaningful.

"FDC and Bollywood films are merely copying western films, but this piece by young film-makers was much more moving, realistic and relevant to everyday contemporary life. The child's heart-break, in the first film, was over the fact that the boy's elder brother had abandoned their single mother, and this theme did not bring in the usual abandoning of the young woman by the uncaring or disenchanted lover."

Asked if the Bangladeshi culture had been brought in well in the two documentaries, Masud said, "No documentary can claim that it represents Bangladesh: it can give a slice of Bangladeshi culture, but these documentaries have not distorted or misrepresent our past; you can get a greater picture of Bangladesh with a series of documentaries like these.

"What I emphasise is that this is the beginning of hopefully something better and of more lasting impact by the Jahangirnagar University Film Society in future. It is vital in a film society that the members should not consider themselves elite watchers of fine films: when it comes to doing creative work themselves it shouldn't be limited. They must get into action. When one knows the limitations of documentaries one is bound to appreciate the two ventures shown today. Documentaries can be equally entertaining as feature films: they involve information, education and entertainment."

Sanjida Sharmin Jui, one of the members of the Jahangirnagar Film Society that had made the two documentaries, said, "I'm in this group along with Shahidul Islam, Ronnie and others. The film society was begun by me with the help of my friends. Earlier, I took film appreciation courses and saw as many films as I could in the city: this led me to know my colleagues in the society. I also worked as an assistant director for 'Anon Tara', to be viewed on ntv in the near future, shortly after Eid: I did this to learn the handling of the camera. Next, I worked in documentaries myself. Incidentally, much earlier, I did still photography as a freelance photographer for 'Sangbad' for its back page features, on several occasions. My interest in photography had grown from my childhood, when I was into drawing and painting."

Kazi Shahdiul Islam, one of the film organizers, and an ex-journalist, said, "I was a drama student of the Jahangirnagar University. As such, I grew to take interest in films as an extension of my interest in drama. It is difficult for us to get patrons so we have financed the two documentaries ourselves."

'Ay Bangla''s exhibition at WVA, for three days, of the 'fatuas' made of local 'gamchha', Hill Tracts 'pinon', 'punjabis' from 'khadi', simple Tangail saris and pottery was an extension of the integral interest of the film society in local crafts. These skills tend to be ignored due to the cunning of the middlemen, the lack of interest by the bourgeoisie in the metropolises, as well as that of unknowing foreign patrons.

The saris were in turquoise, orange, and pristine gentle gray and white, with polka dots, floral motifs, paisley patterns, stripes and checks. Geometrical motifs in startling colours were also used in these delectable, reasonably -priced saris. The Rangamati 'pinons' used in the making of dramatic blues and vermilion 'fatuas' also were special offers at the occasion. So were the attractive clay pottery sets geared to both local and overseas tastes. "We went to different interesting parts of Bangladesh and brought back the crafts from those regions for the buyers at Dhaka," said Jui, who is a BBA student at the North South University.

The combination of the interesting films and the display that followed were admirable indeed and deserve to be encouraged in future too. Young entrepreneurs who have the heritage in mind, rather than making the quick buck, or pursue personal success, deserve accolades.