SCRIPT WRITING workshop & DUBSHATAR’ screening at Chittagong.

 DUBSHATAR’ screening & SCRIPT WRITING workshop at Chittagong.

Event organized by:- GroupFineartsbd, (

Dear friends,

‘Dubshatar’, the latest feature film by Nurul Alam Atique, will be shown in Shilpokola Academy Chittagong & Social Science Auditorium, Chittagong University on special 3-day screening program at 08-10 April, 2011 Friday to Sunday. There will be twice show everyday at both venues. Please come to attend the screenings.
...Eventually, a workshop will be conducted by Nurul Alam Atique on effective ‘Script Writing’ capacity building. Interested aspirants are requested to contact soon with the number provided below.


Screening Schedule:

লেখা, শব্দের অর্থ উৎপাদন এবং কয়েকটি কবিতা

লেখা, শব্দের অর্থ উৎপাদন এবং কয়েকটি কবিতা


লেখা যা কিছু উদ্দেশ্য করে লিখিত । উদ্দিষ্টবস্তুর সাথে লেখার সম্পর্কের পেছনে এক ধরনের ধারনা থাকে । সেই ধারনা কর্তার । এভাবে গ্ঞান জগৎ এক প্রকার ধারনাজগৎ । আর লেখা হচ্ছে ধারনা খন্ড বা ধারনার [আংশিক] ধারা । ধারনার সীমাবদ্বতায় বস্তু দৃশ্যত সীমাবদ্ধ হলেও আদৌ তা সঠিক নয় ।
লেখা এক প্রকার অধরাকে জোর করে ধরার মধ্যে আটকে ফেলার পদ্ধতি । কিন্তু কর্তা তাতেও লেখা দিয়ে তার অধরা ধরাতে পারেন না । সম্পূর্ন অর্থে । সম্পূর্নভাবে ব্যাক্তে ।
অধরা কি ? যা ধরা নয় , ধরার মধ্যে নয় । যে কোনও প্রকর উচ্চারণই অধরা । কাগজ – কলমে বা ত্রিমাত্রিক উপস্থাপনে সেই উচ্চারন সম্পূর্নভাবে দৃশ্যগোচর করা অসম্ভব । অধরা আরো অনেক প্রকার । অধরা মূলত ভাব যা ব্যক্ত করে উচ্চারন -এ । এই উচ্চারনকেই আবার মৌখিকভাষা বলে । মৌখিকভাষাকেই [অর্থাৎ অধরা ভাষাকেই] লেখার মাধ্যমে ধরার প্রচেষ্টা চালানো হয় । কিন্তু আমরা জানি লিখিত ভাষা মাত্রই মৌখিকভাষা নয় ।
লিখিত ভাষার সাথে তাহলে আদৌ কি অধরার কোনও সম্পর্ক নাই । অধরা মানে আবারও বলছি ভাব যাকে ধরা যায়না ।ছোঁয়া যায়না কিন্তু এক প্রকার অনুভব করা যায় যদি কর্তা তার ভাব প্রকাশের জন্য কোনও প্রকার শব্দ উচ্চারন করেন । উচ্চারনে কেন জোড় দিলাম ? একারনেই যে কর্তা আর শব্দ সৃস্টি করতে পারছেন না সে কারনেই উচ্চারন করছেন । অর্থাৎ একই অভাব এর দরুন স্থিরিকৃত শব্দের পুনোচ্চারন করেন । এর বেশি কিছু নয় । কিন্তু কর্তা যদি অভাব হেতু ভাব দ্বারা নতুন অর্থ উৎপাদন করতে চান তাহলে শব্দের অবস্থান কে নড়িয়ে -চড়িয়ে বসাতে হবে । কারণ কর্তা মাত্রই নতুন শব্দ সৃস্টি করলেও নতুন অক্ষর সৃজন করার প্রচেস্টার দিকে আর এগুতে দেখা যায়না ।

“Moner Manush” heads for Goa film fest

“Moner Manush” heads for Goa film fest

India-Bangladesh joint production "Moner Manush", directed by Goutam Ghosh, is one of the four Bengali films selected for Indian Panorama section of the International Film Festival of India to be held in Goa next month.

This is the first international festival at which the film, which has a mixed cast drawn from India and Bangladesh, including Prosenjit and Raisul Islam Asad, will be screened before its commercial release.

Ghosh is very hopeful about the commercial success of "Moner Manush" based on the life of mystic poet Lalon Fakir, saying co-productions "makes market sense".

Dhaka Safe and Sound

There is being arranging a festival by Goethe-Institut Bangladesh titled “Dhaka Safe and Sound”. It is gonna start on 18th October . The festival will have its end on 31st October.
Festival’s first event will be Music and Colour– Inauguration by Prof. Rafiq un Nabi. Next day Climate.Culture.Change– Film series. Silenced Water – Theatrical performance by local theatre group Lathial will be on 21st. Most spectacular event I think Young art goes green. It is a combination of Video, animation, performance and many more by the German language partner school’s programme. It will be held on 22nd October at Shilpangan Gallery.

CALL FOR SUBMISSIONS: Baasher Ghor/ Bamboo House Project

Contemporary traditional art of Bangladesh



    The great ceramic tradition of Bangladesh unfolds in the context of geology. From the world's tallest mountains, mighty rivers roll to the sea. Their silt has built the world's widest delta. The earth of the delta is heaped into mounds that hold the villages above the flood. It is planted to rice so that people might eat. It is shaped and baked into vessels so that water can be carried, food can be cooked, and people can get though another long day.

There are six hundred and eighty villages dedicated to pottery-making in Bangladesh, nearly half a million people who use clay to make art because clay is what there is. They dig and mix two kinds of clay -- one white and sandy, one black and sticky -- treading and kneading them together to make a smooth new substance for creation.

Language, nation, and multiplicity

 by Piash Karim

A COLLECTIVE linguistic awareness, as experienced and articulated by the Bengali middle class, was a major point of departure around which Bengali nationalism in this territory evolved. The mainstream historical narrative of our national liberation struggle, originating in the language movement and coming to fruition in 1971, testifies to the way the language issue was deployed in the middle-class consciousness. This narrative, of course, obscures, among other things, a plethora of struggles that took place until 1950, including the revolutionary movements carried out by the peasants of Hajong and Santal nations (discussed in volume II of Badruddin Umar’s extraordinary study of the language movement) as precursors to national liberation. The failure to make the connection between peasant uprisings and the national liberation war is not a simple question of textual bias. It is rooted into the actual trajectory through which the Bengali middle-class national liberation sensibilities unfolded. If the language movement and the peasant rebellions, along with other working class movements, could be connected under a radical class hegemony into an organic struggle of national liberation, the history of this part of the world would have been phenomenally different.

On tyranny and terror: freedom of thought and choice of speech

 by Salimullah Khan

Article 39(1) of the constitution of the People’s Republic, or the State, of Bangladesh, as everyone knows, guarantees freedom of ‘thought and conscience’. It may be interesting to note that ‘thought and conscience’ is stated here in the singular as a grammatical substantive. This right, as smart lawyers never fail to mention, is absolute in form and, consequently, it is not possible to pass any law curbing this right on any ground whatsoever. That is to say this freedom is admired as inalienable.
   Article 39(2), however, distinguishes freedoms of ‘speech and expression’ and of ‘the press’ as only alienable freedoms. ‘Speech and expression’ is, as a grammatical substantive, is perhaps taken as inseparable but ‘the press’ is again quietly separated from that substance, before assigning pre-eminence of alienability to both. To illustrate what freedom of ‘thought and conscience’ might mean, a wise lawyer has claimed that no action lies against an individual for whatsoever she has written in her diary. Writing in your own diary is not an act of ‘speech or expression’. This is as far as lawyerly wisdom goes.

Living the spirit of Ekushey in the season of slogan for change

Government is not a trade which any man or a body of men has a right to set up and exercise for his own emolument, but is altogether a trust, in right of those by whom that trust is delegated, and by whom it is always resumable.
Thomas Paine, Rights of Man

by Nurul Kabir

WHILE the whole world is set to celebrate International Mother Language Day today – February 21 – the Bangladeshi Bengalis, who glorified the day by sacrificing their lives to politically uphold the democratic importance of the recognition of a mother tongue by the state 57 years ago, is now faced with the responsibility of re-living the spirit of the language movement by way of putting up resistance against the scheme of getting ratified two years of anti-people emergency rule of the military-driven government of a few unelected individuals.

3rd Int’l Children’s Film Festival Disadvantaged children in focus

Disadvantaged children in focus

 The 3rd International Children's Film Festival began on January 23. Prime Minister Sheikh Hasina inaugurated the festival at the Osmani Memorial Hall. Over 240 children's films from 50 countries are being screened at this year's festival. Of these, 61 are Bangladeshi films. Child filmmakers have made 34 films. Children's Film Society Bangladesh, in association with Unicef, is the organiser of the festival.

Everyday films are screened at four sessions starting from 11 am. Films are being screened at several venues including Central Public Library and National Museum. The Central Public Library is the main venue of the festival.

Apart from film screening, a workshop and a daylong seminar as well as few interactive sessions with eminent personalities are part of the festival.

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