Tuesday, December 11, 2012

                    তবে কি বনলতা সেন?

কাব্য খ্যাতি আমি পেয়েছি ঠিকই, ক্ষণিকের তরে
তবে নারী প্রেমে উন্মত্ত হয়ে সেগুলো লিখিনি
যৌনতা, রাজনীতি, কুপমুন্দক ধর্ম বেত্তার
আমাকে উন্মত্ত করেছিল, তাই নিয়ে ইংরেজিতে লেখা
কবিতাগুলো ঠাই পায় কবিতা সংগ্রহে, শহরের
ইংরেজি জানা লোকেরা তাই পরে বাহবা দিয়েছিল বেশ।

মধুকবির মতো আমিও ইংরেজিতে লিখি না আজ
স্বপ্নচারী হয়ে চলেছি আমি অজানা গন্তব্যে
দেবী সরস্বতীর চরণ তলে আশ্রিত হয়ে।

প্রেম মিথ্যা ধরেই এক সরলা মিরান্দার ভালোবাসার আহবানে
হাঁটছিলাম আমি তার জীবনসঙ্গী হবার রাস্তায়
তার বিশ্বস্ত ভালোবাসা, আমার অন্ধকার হৃদয়ে তার পুরো আস্থা
পুলকিত করেছে আমায়, আমি হয়েছিলাম তার বিশ্বস্ত সঙ্গী

রুপকথা এসে আমায় গ্রাস করল ঠিক তখনই
পূর্ণ চন্দ্র-গ্রহণের মতো আমার পুরো সত্তা কেঁড়ে নিল সে
কি জানি, কেমন মায়ার জালে বন্দী হয়েছি আমি
কি রহস্য, কি ভয়ঙ্কর স্তব্ধতা, একটু দেখার কি উদগ্র ইচ্ছা
তবে এইখানেই কি মিথ্যা প্রেম সত্য হয়ে যায়? 
                                                                                    ৩ নভেম্বর, ২০১২           

Wednesday, October 3, 2012

শিরোনাম দিবো না


আমি লেখাটার আবতারনা করছি তীব্র হাতাশা থেকে। তীব্র একটা যন্ত্রণা, মনঃকষ্ট থেকে। গত কয়েক সপ্তাহ ধরে এক্তা বিভীষিকা বয়ে যাচ্ছে আমরা যারা ‘মুসলিম’ ঘারানার দেশ এ বাস করি তাদের উপর দিয়ে। ঝড় সেই পুরনো কাসন্দি, ইসলামী মৌলবাদীদের তাণ্ডবলিলা। আমি এই কীট-পতঙ্গ গুলো নিয়ে লেখব না। তবে তারা থাকবে সমস্ত লেখা জুড়ে, বিভীষিকা হয়ে। আর সচলায়তনে এদের নিয়ে বিস্তর লেখা হয়েছে।তবে শ্রেণীর ব্যাপারটা কেমন জানি উপেক্ষিত থেকে গেছে। হাঁ, আমি উচ্চবিত্ত ও উচ্চ–মধ্যবিত্তের ‘কো–অপশন’ নিয়ে লিখতে বসেছি।

তবে হাঁ, সারা পৃথিবীতে আজকে ইসলামী মৌলবাদ বেশ টক অফ দা টাউন এ পরিণত হয়েছে। মৌলবাদ শব্দটি নিয়ে বেশ বিরোধিতাও পরিলক্ষিত হচ্ছে। যারা ‘ইসলামইক রেভাইভাল’ এর স্বপ্ন দেখে, তারা মৌলবাদ শব্দটির বিশেষ বিরোধী। আবার আছে বাম চিন্তাবিদও যারা ইসলামি মৌলবাদ কে পশ্চিমের আবিষ্কার বলে দায়িত্ব এড়াতে চায়। একজন তো আবার জামাত তত্তের সমর্থক হিসেবে মাজখানে বেশ সরব ছিলেন। কিন্তু ইসলামী মৌলবাদ যে একটি বিশেষ মাথাবাথা সভ্য দুনিয়ার জন্য তা অনেকেই ভুলে যান। ইসলামী ব্যাংকিং নিয়েও এরা বেশ উৎসুক। মুদারাবা ব্যাংকিং তাদের আরও লাভের পথ দেখায়।

বলে রাখা বাঞ্ছনীয় আমি কিন্তু ফিলিস্তিনে ইজরাএলি আগ্রাসন অথবা ইঙ্গ-মারকিন সাম্রাজ্যবাদ নিয়ে লিখতে বসিনি। আমি যে ‘বেসিক’ মৌলবাদ এর কথা বলছি, তার ছাপ আছে কাজী ইমদাদুল হকের আব্দুল্লাহ উপন্যাসে, আছে সৈয়দ ওয়ালিউল্লাহর লাল শালু তেও। আছে তারেক মাসুদ পরিচালিত মাটির ময়নায়, আছে হুমায়ুন আজাদের লেখালিখির পরতে পরতে। হাঁ, মৌলবাদ তও্ব তো ভারতেও আছে, মার্কিন দেশেও আছে। হাঁ, আছে। কিন্তু ইসলামী মৌলবাদের বিশেষ চরিত্রটি আর উপেক্ষার নয়। আজকের ইসলামী মৌলবাদ দুদু মিয়ার আন্দোলন নয়, হাজি শারিয়ত উল্লাহ্‌র গ্রাম কেন্দ্রিক আন্দোলন নয়, যে আন্দোলন গুলো ছিল শ্রেনি সংগ্রামের।

ইসলামী মৌলবাদ আজকে এক বিশেষ শ্রেণীর হাতিয়ার হয়ে উঠেছে, পাঠককুল শ্রেণীটিকে আমরা ভাল ভাবেই চিনি, কিন্তু তাদের কামেলেওন চরিত্র ঠাহর করতে পারি না। হাঁ, মিশরে ব্রাদারহুড তো ছিল শ্রেণীর বিরদ্ধে একটি প্রতিবাদ, হাঁ ছিল, কিন্তু সেই আন্দোলন কি মুক্ত সমাজ প্রতিষ্ঠার আন্দোলন কখনও ছিল? ছিল না। মিশরে তারা শরিয়া এখনো চালু করেনি কিন্তু চেষ্টা চালাচ্ছে পুরোদমে।  ইরানের ভিতর যে তীব্র নিপীড়ন চলছে তা আমরা অনেকেই জানি না, যেমন জানি না সাউদিতে কাজ করতে যাওয়া শ্রমিকের দুঃসহ জীবনের আসল স্বরূপ

মৌলবাদ মুক্ত পৃথিবীর কথা বলে না, সত্যকে সে ভয় পায়, নারীকে দেহ সর্বস্ব মনে করে, তাই হিজাব নিকাব ঈশ্বরের আদেশ বলে চালিয়ে দেয়। বড় কথা হল ধনতন্ত্রের সে পূজারী। তাই আজ বাংলাদেশের     উচ্চবিত্ত ও উচ্চ–মধ্যবিত্তের  কাছে খুব প্রিয় হয়ে উঠেছে এই ব্যাপারটি।

যেইখানেই যাবেন দেকবেন ইসলাম নিয়ে একটা আলোচনা থাকছেই, ইসলাম নিয়ে আলোচনায় আমি কোনও সমস্যা দেখি না। কিন্তু আলোচনার বিষয় বস্তু যখনি হিজাব, ইসলামী রাষ্ট্র আর ইহুদি-খ্রিস্তান ষড়যন্ত্র তখন বুজতে হয়, আলোচনা ইসলাম নিয়ে হচ্ছে না। বরং আলোচনার বিষয় বস্তা পচা, এতে ধর্মের স্থান পর্যন্ত নাই।

আরও আছে। দেশের সেকুলার সংস্কৃতিকে আক্রমণ করারও এক বিশেষ স্থান হল এই সব আলোচনা। পহেলা বৈশাঁখ এঁর হিন্দুয়ানী চরিত্র এদের বিশেষ মাথা বাথার বিষয়। তাই একটি আনকোরা বস্তা পচা ছবি নিয়ে এরা যে হই হই রই রই করে উঠবে না, তাই চিন্তা করাটা ভুল হতো

হাঁ, আপাতত সহিংসতার সাথে জড়িতরা সকলেই সাধারণ মানুষ, কিন্তু তাদের এই ইসলামী চেতনা তৈরি হয়েছে শাসক শ্রেণীর হাঁতেই। বঙ্গবন্ধু তীব্র ভাবে বার্থ হলেন, তাকে হত্যা করে দেশ দখল নেয়া সেনাপতি জিয়া আরেক কাঠি সরেস, দেশকে পাকিস্তানি কায়দায় পরিচালনা করলেন। এরশাদ নামক শয়তানটিও সাধারণ মানুষের ইসলামী ‘sentiment’ কে ভাল করে ঘেঁটেছে। ফায়দা লুটেছে সমাজের উপর তলার মানুষ, আর ভিকটিম হয়েছে সাধারণ জনগণ।

আজকে যারা মন্দির প্যাগোডা ধ্বংস করেছে তারা মাদ্রাসার মাথা ধোলাই হওয়া দরিদ্র শিক্ষাত্ী, কিন্তু তাদের ‘ideological’ সাপোর্ট এর জায়গাটা হল সমাজের সুবিধা প্রাপ্তরা। আজকে উচ্চ, উচ্চ-মধ্যবিত্ত ও মধ্যবিত্ত ঘরে যাকির নায়েক কোক পেপসির মতো গেলা হয়।  যাকির যখন বলে যে মুসলমান ছ্যারা কারো কোন অধিকার নাই, সকলে দ্বিতীয় শ্রেণির তখন খুব খুশি হয় তারা। জাকিরের তীব্র নারী বিদ্বেষী ফতোয়া তারা ধর্ম আদেশ বলে ধরে নেয়।

পৃথিবীতে আজ পরিবেশ বাঁচানোর সংগ্রাম চলছে, নারি পুরুষের সমঅধিকার নিয়ে বাহাস হচ্ছে, সমকামীদের অধিকার প্রতিষ্ঠার আন্দোলন চলছে। মৌলবাদের ঘেরাটোপে বন্দী বাংলাদেশে হচ্ছে হিজাব বাদ্ধকরনের চেষ্টা, দেশিয় সংস্কৃতির বিরদ্ধে জিহাদ ঘোষণার প্রস্তুতি চলছেচলছে মুক্ত চিন্তা বন্ধের নানা পাঁয়তারা। বেশীর ভাগ তরুন তরুণী যুবক যুবতীও মৌলবাদ নিয়ে কথা বলতে ভয় পায়,না জানি ইসলামের বড় ক্ষতি হয়ে যায়।

সময় এসেছে ইসলাম আর ইসলামী মৌলবাদের মধ্যে ভেদ রেখা টানার। স্পষ্ট করে বলার সময় এসেছে ইসলাম পালন করতে কোন বাধা নাই, ইসলাম নিয়ে চিন্তা করতে সমস্যা নাই। কিন্তু ধর্ম ভিত্তিক সমাজের ধারনা বিলীন হয়েছে বহু আগে, মধ্যযুগের সমাপ্তির পরেই। ব্রিটিশ উপনিবেশ প্রতিষ্ঠা পূর্ব ভারত ছিল  না ইসলামী, ছিল একটি বহুত্ববাদী সমাজ। পূর্ব বাংলা ছিল সেই সমাজ বাবস্থার ‘Furthest Frontier’. আর হাঁ, উপমহাদেশে ইসলাম কেবল শান্তির ধর্ম হিসেবেই আসে নাই,ইসলামী উপনিবেশিক আগ্রাসনও ছিল একটি প্রধান নিয়ামক।

তাই ইসলাম ইসলাম করে লম্প ঝম্প বন্ধ করে বরং নতুন চিন্তার বিকাশ ঘটানোর সুযোগ করে দিতে হবে, নাইলে শাসক শ্রেণী, ফুলে ওঠা মধ্যবিত্ত কাওকেই ছেড়ে কথা হবে না। আর মৌলবাদী দল গোষ্ঠী গুলোকে চোখে চোখে রাখতে হবে।অন্যথায় বিপদ হতে পারে।     

Friday, March 16, 2012

Mangled Prose


Untrusting violence wreaks the streets,
Slack with the urge to kill gangs go berserk

The madwoman in the attic
sings Ophelia-like songs
speaks of
       broken promises, shattered bangles and forlorn loves

Desire preys on a timorous maiden
like hungry wolves scavenging across the prairies
Her waddling curves invoke unbidden lust
in tawny, sooty-headed boys
whose rusted rifles and glinting eyes carry revolutionary sparks,

Blood, bassoon and bereaving
shatter night’s tranquility
Bullets, bandanas and bugle-horns announce descending darkness,
revolution and violence take over the streets
outshine the madwoman’s loud laments and the maiden’s feeble cries.  

Alms of Desire: Pahela Boishakh meets Romanticism and European religious painting

           Art has often co-opted with desire. Without desire, we can say, there would no works of art. From the ancient cavemen of pre-historic France to the hard-core ghetto artist of the modern day suburbia, everyone expresses desire through their works of art. Freud, one is tempted to utter the name but it seems there is something far more primitive in man’s desire to express him or her through art. It is a commonly accorded phrase among today’s intelligentsia or a theory connoisseur that ‘man is a desiring animal’, an idea culled into existence by the French psychoanalyst Jacques Lacan. In fact, desire or impulse as expressed in art is something far more primitive to be accorded some sort of theorization. 
Nonetheless, the desire that profoundly influences artistic creation is both fleshly and spiritual in nature. By fleshly, I mean, the ID taking over, when sexual impulses play tendentiously with the artist’s virile mind creating images or spurting out lines of wondrous panache. We will always see such images or to say more bluntly, history is replete with creativity that had something to do with the body, the aching for the body, the maneuvers of the body, smittening of the mind by bodily gestures. Take for example the depictions of sexual intercourse in D. H. Lawrence’s Lady Chatterley’s Lovers or Gabriel Garcia Marquez’s One Hundred Years of Solitude. Candid as they are can be taken as manifestations of the sexual within the artist.
My argument hinges on the spiritual aspect of the desire that leads to artistic creation. Two forms of spiritual manifestation of art I would want to discuss here. Firstly, the Romantic manifestation of artistic desire in which impulses of a varied nature play a part in creativity and through which the creative mind give recognition to the impulses that play a key role in creating works of art. Secondly, I will try to discuss the long tradition of religious art of Europe which is quintessentially spiritual in nature, and is illustrative of a desire for spiritual freedom. From the discussions of Romanticism and European religious art, I will come to my conclusion where I would brief discuss Pahela Boishakh as a manifestation of the romantic ideals and religious desires which we have found in European art.
European Romanticism as it has been theorized by scholars like Maurice Bowra, Mario Praz was greatly a revolt against unfreedom. The other thing that made Romantic art possible was the artistic realization that the growing capitalism of 18th Century England is a revolt against the nature forces, against the Divine Creator in particular. Consequently, an insatiable desire to represent freedom became the leitmotif of Romantic art. As I have already noted, sexuality hardly played a role in a Romantic artist’s expression of desire. It was rather a freedom of the mind which they desperately sought. Without discussing William Blake, the poet-prophet of English Romanticism any discussion on the spiritual desire of Romantic art remains incomplete. Perhaps the best place to start is his ‘Songs of Innocence and Songs of experience’ that he identifies as ‘showing the two contrary states of the human soul’.
What makes Blake’s works examples of art-works manifesting desire are the heavy presence of loaded images where desire seems to be competing with institutions particularly inimical to freedom. The poems “The Sick Rose” or “Holy Thursday” are perhaps the best possible examples. The sickness of the rose in the first and the plight of the children in the second poem result from the shackles of institutionalization. The rose, symbolic of sexual violation would only cure itself once it gets rid of the ‘worm’ that is tormenting its innocence. The children, orphaned and possibly malnourished, will only be able to attain freedom once they have got rid of the Church representatives who guard their procession with jealous obstinacy, thinking a slight lax of their panoptic gaze would result into the unraveling of a desire that would bring destruction to institutions of all kinds including the religious ones.     
Other romantic poets like Keats and Shelley consistently evoke desire for freedom in their works. Keats’ concept of negative capability, a theory that he coined to enunciate his free-spiritedness, is indeed worth analyzing. For Keats, man burdened by ‘the fever and the fret’ of daily life must try to escape the ephemeral through art. Keats’ negative capability is a vehicle through which the human soul can journey to the world of ideals. In   “Ode to a Nightingale”   and in “Ode on a Grecian Urn”, Keats undertakes such journey. Shelley is perhaps the most radical of romantic artists who would manifest the most potent of romantic desire. His “To a Sky Lark” is an audacious declaration of poetry.
For the Romantic poets, artistic impulse was a cerebral process. This play of the mind would only respond to the call of the heart once it is able to channel the desire to create into substantial will to creativity. And it is Imagination, a quality that the Romantics saw as having the quality of fusing a connection between desire and creation. Hence, imagination willed works of art. Something akin to Nietzsche’s Will to Power.  
Thus art does inculcate a will to power, we can say. And this is the point when we can discuss Romantic paintings of the German artists Caspar David Friedrich and Philipp Otto Runge. In their art there is a constant desire to escape unfreedom. Andrew Graham Dixon, a celebrated British art-critic in a television documentary on German art discusses Friedrich and Runge as artists whose works are illustrative of the romantic ideal. Both artists express a penchant for freedom, a desire to break free from the shackles of institutions. Dixon is particularly effusive about two works, Friedrich’s Wanderer above the Sea of Fog (1818) and Runge’s The Hülsenbeck children (1806), both of which he sees as expressive of freedom. Friedrich’s work, Dixon shows is manifesting the German national possibility at a time when Germany was expressing its desire to expand and to be a powerhouse of Europe (Dixon 2010).
Runge’s work is expressive of a Wordsworthian notion, that is, children are sacred and they exist in a realm of absolute purity, free from the venomous aspects of adult life. One can discern a Blakean penchant for innocence in Runge.  While Romantic art had a closer tie with the desire to break free, European religious art, a tradition long venerated as manifestation of God’s omnipotence, expresses the desire to elevate the soul spiritually. 



                                              The Hülsenbeck children, Philipp Otto Runge
However, within the bounds of religious art, there was always an intimation of freedom.  Artists, reluctant to remain obsequious to the dictates of the Roman Catholic Church would often display resistances of various natures. Thus the most celebrated of Leonardo Da Vinci’s work, which have religious connotations, are often expressive of a desire to break-free of the normative paradigms of Renaissance art. In The Last Supper or in The Virgin of the Rocks we see Da Vinci giving expression to a religious theme in a tacitly manifested spirituality, illustrative of artistic freedom.
Pahela Boishakh with its carnivalesque intent has an innate spirituality and a desire to seek freedom that encapsulates the essence of both European Romanticism and European religious art as discussed above. Though plagued by contemporary bourgeoisie commercialism, the occasion in essence is egalitarian in nature. While seeking to escape the shackles of unfreedom, Boishakh reminds us of the realm of the beyond which is not religious yet akin to a pagan intimation of religiosity. Spiritual freedom is what Pahela Boishakh teaches us, but far more important is how the occasion challenges the European notion of spiritual freedom as illustrated in Romanticism and Renaissance religious painting. This spirituality is again a primordial human desire, to break free from tyranny, from mind-deadening parochial religiosity. More importantly, it is a challenge to the Eurocentric notions of spiritual freedom where religiosity and artistic expressions take on a different form.
The inauguration of the Bengali New Year is traditionally a rural festival. But gradually it became associated with the urban Bengalis who saw it as a resisting force to the Islamicist national identity of the Pakistan nation. Pahela Boishakh became a unique force giving voice to the growing resentment against Pakistani ideological hegemony since “Pahela Boishakh wanted to keep religion within the spheres of home and worshipping, and forbade the use of religion as a social and collective tool” (Choudhury 49) (my trans). In this sense, the desire as illustrated by the Bengali New Year festivities is that of the Bengali spirit.    
Precisely for that very reason, different forms of artistic desires take over during Pahela Boishakh. The collective nature of the artistic expressions of Boishakh is suggestive of the rejection of the religiocentric collectiveness espoused by the national discourse of Pakistan. Consequently, the exuding of raw libidinous energy as well as spiritual thirst is a manifestation of a desire that seeks to overturn not only the neo-colonizing paradigms of Pakistani statehood but also the English colonizing values that imposed strict restrictions on the local and the vernacular. The occasion thus becomes celebratory and would continue to be reckoned with gusto and liveliness.
            What makes this connection between Pahela Boishakh and European artworks-religious and romantic art illustrating spirituality-worth discussing is that both are revolts against the reductive features of life. It is only by fighting reductiveness art can free itself, and Pahela Boishakh as well as the European religious and romantic art, despite the clamorous gongs  of discipline, form and order asking them to remain quotidian and conforming, has freed art by successfully upholding a spiritual desire to be free.  To end, Serajul Islam Choudhury’s views of Pahela Boishakh according to which, “The main thing is to bring an end to discrimination … to break free from the cocoon of community and the difference of class also”, can also be aptly applied to the profound message of European religious art and the Romantic Movement which were aimed at breaking down the barriers that sought to differentiate and to keep Europe under the clutches of parochial rigors and rituals. 

References: 

Choudhury. Serajul Islam Punjibader Dusshason (Tyranny of Capitalism). Dhaka: Jatiya   Grantho Prakashan, 2001. Print. 

Dixon, Andrew Graham (Presenter) and Karen McGann (Director) Dream and Machine, The Art of Germany, Produced by BBC, 2010. 

Friday, February 24, 2012

Pahela Boishakh: A tool for resistance, a celebration to assert heterogeneous national identity

            Pahela Boishakh has emerged as a significant national celebration in the recent years. The commercial motives that drive the media frenzy whenever Boishakh arrives every year  are nonetheless condemnatory but what makes this occasion unique is the fact that it comes as a relief to many who have been fighting the increasing Islamization of an otherwise secular society. 14th April of the Gregorian calendar is the day when the Bengalis celebrate the Bengali New Years Day. The day in this regard is one that is culturally inclusive, a day of Bangaliyana largely synonymous with 14 April, a day in the Christian calendar.
  The other aspect Pahela Boishakh is the egalitarian nature of the celebration. People from all walks join in the celebration. Bangladesh’s ever increasing class disparity, despite playing a role in the mass celebration, hardly dents its spirit. Perhaps the festival’s larger socio-economic role is worth evaluating at a time when the vapid hisses of Islamism threatens the equanimity of Bangladesh.
 Just a few years back when the right-wing BNP-Jamaat coalition government was ruling Bangladesh, a reign of terror ensued, with the massive pogrom of indoctrination and pillaging of the minority communities. As soon as the coalition took over, a blood-bath rinsed the soil of Bengal. Hindus were the prime target with the houses gutted and their women raped in the rural areas of the country.
 At that critical juncture, an article “BANGLADESH: A cocoon of terror” was published in the Far Eastern Economic Review. Bertil Lintner’s article was a grim reminder of the realities of a country otherwise hailed by development activists as a moderate Muslim nation. He wrote:

      A REVOLUTION IS TAKING PLACE in Bangladesh that threatens trouble for the region and beyond if left unchallenged. Islamic fundamentalism, religious intolerance, militant Muslim groups with links to international terrorist groups, a powerful military with ties to the militants, the mushrooming of Islamic schools churning out radical students, middle-class apathy, poverty and lawlessness-all are combining to transform the nation (Lintner 2002).
  
The argument made above seems polemical if read out of context. The Bangladesh of 2000-2007 was indeed a period when this Islamist reign of terror had the potential for bursting out of the cocoon to a full-blown threat. Examples galore in the form of the Udichi Bomb blast in Jessore, the Ramna Batamul Bomb blast in 2001, a series bomb blast in the 63 (out of 64) districts of the country in 2005 and finally the gruesome attempt on the life of Sheikh Hasina, the current prime minister, on 21 August, 2004. The State at that time was reluctant to trace such carnage; in some cases it blamed the Indian intelligence, while others thought of ISI (the Pakistani Intelligence Agency).
  The grim reality of the bomb blasts point to one terrible truth, that is, something was/is wrong in the state of Bangladesh. Peoples indoctrinated in the politics of violence claimed to have drawn endless inspirations from the Holy Book. Their imprisonment and subsequent punishing did bring an end to the menacing terror they unleashed but it failed to answer a very significant question that is the role of religion, specially the impact of conservative indoctrination on our society.
 But to understand the conservatism that imbues the psyche of ordinary Bangladeshi Muslims, the global perspective needs to be taken into consideration. Muslims all over the world have embraced conservatism and a narrow interpretation of the great religion in the 21st Century. Though this process of Islamization and recoiling into the shell of conservatism has occurred throughout the 20th century, the September 11 attack has redefined ‘conservatism’ in the Islamic societies.
 This conservative movement within Islam has a very long tradition with the establishing of Wahabism in Saudi Arabia, Muslim Brotherhood in Egypt and the Jamaat Islami in the Indian sub-continent. The movements since the time of their initiation were deeply conservative and with their “simplistic reductiveness” only offered the adherents “recourse to a hazy fantasy of seventh century Mecca as a panacea for numerous ills in today’s Muslim world …” (Said xv). 
 Ziauddin Sardar has been exploring the various ills that plague the Muslim societies of today. Sardar argues that the fanaticism of a few is costing the large section of Muslims across the world. In the essay “Is Muslim civilization set on a fixed course to decline”, Sardar analyzes the mind-deadening Saudi Wahabi fundamentalism, which he deems problematic and offensive to the global Muslim community. Wahabi ideology maintains that “Everything had to be found in the Koran and the Sunnah … Nothing can be read metaphorically or symbolically … in modern Wahabism, there is only the constant present. There is no real past and there is no real notion of an alternative, different future” (Sardar 2004). Such analysis provided by Sardar speaks much about the conservative movements within Islam that continues to affect Bangladeshi Muslims also.
More importantly, Sardar exemplifies how Wahabism sees the different cultural manifestations of Islam as deviant, hence, unacceptable. Hence, Muslim Spain or Mughal India and the rich cultural diversity they represent are nothing but akin to heresy in the eyes of a Wahabi-indoctrinated Muslim: “The history/ culture of Muslim cibilization, in all its greatness, complexity and plurality, is totally irrelevant; indeed it is rejected as deviancy and degeneration” (Sardar 2004).  Such a rigid and over-simplified understanding of Islam, a religion that inspired humanity’s greatest achievements in the arts and sciences, is indeed pernicious and essentially anti-modern. What Wahabi Islam ends up becoming is what Rushdie identifies as “god and Mammon … unified at last”, consequently, creating a religiocentric fiefdom simultaneously producing bird-brained Mullahs and pot-bellied stock-traders.     
Interestingly, the West had repeatedly pointed out to the fundamentalist tendency of a few as emblematic of the Muslim people across the world. Consequently, a dangerous form of essentialization and objectification of Islam has been perpetuated in the West that deliberately lumps Iranian nationalistic inspirations with that of Mammon-ridden Saudi fundamentalism. Even more tendentious an attempt is presenting the Palestinian liberation struggle as nothing but an Islamic propaganda to dismantle Israel.
Edward Said in his articles, books, and lectures have consistently exposed the Western hypocrisy in dealing with the Muslim world. In Orientalism (1978), now considered as a seminal work in understanding Western representation of the East, Said has depicted in details how the West has presented the Orient as the static Other awaiting European civilization to be discovered and authentically presented. In his latter books, Culture and Imperialism, and Covering Islam, Said explores further the Western misrepresentation of the Orient, in particular Islam for spreading its own brand of civilizing mission/mission civilisatrice. What this civilizing mission entails, Said argues, is an absolute annihilation of the Other cultures.  
As a result, Islam that has immensely contributed to the European Renaissance is stripped off its civilizational dimensions, and is highlighted as backward, anti-Enlightenment and anti-Christian. Thus, Orientalization not only becomes a political tool of the West but also a self-degrading device for the born-again Muslim who continues to ‘orientalize’ himself/herself to remain distant from  the West (which it sees as evil) and at the same time, tries to construct an imaginary picture of Islam devoid of history and cultural relevance. Analyzing Said and Sarder’s arguments regarding the West and Islam, we can see that there are two main developments regarding what has been a pressing problem for the Muslims of today’s world. 
  One is that Islam is an aporia that cannot be essentialized as several ruptures have taken place since Islam began its journey in Arabia in the seventh century AD. However, the Islamists in today’s world refuse to accept that Islam like all other major religions of the world “is by its nature multiform … has led myriad different cultural lives, at different times and locations” (Ahmad 290). While refusing to accept the cultural hybridity of Islam, he is befuddled by the glory of the Islamic empires of the past and constructs an imaginary concept of an existence of a priori religiously sanctioned pure communal living. Thus he either attempts to radicalize the world by spreading an inflamed message of religiosity or withdraws from the humdrums of quotidian existence to a world of self-pride.
Whether choosing to be a rebel or a recluse, the Islamist zealot fiercely disapproves of the West, since he reckons the West to be the enemy of a traditional Islamic existence. If read in context, we see that European colonization, specially British and French colonization have had an enormous impact on the lives the Muslims living in the British and the French colonies. It had led to the disorientation of the authority traditional clergy used to have in the pre-colonial times. The traditional clergy would later contest for power when the de-colonization process kicked off in the mid-twentieth century. However, the secular nationalism in modern Turkey and Arabia would eventually end Western colonization in the Middle-East. The Islamists felt they would loose control of the authority they were gradually beginning to gain when Western colonization was fading.  The palpable ire of the Islamist would not go away and it is in the Saudi Wahabi tenet that we see the most horrid manifestation of such rage.
It is necessary to mention that religion played a vital role in some of the decolonizing movements though the Turkish and Arab nationalisms were predominantly secular in nature. The birth of Pakistan, a state culled out of mighty India as a nation for the Muslims of the sub-continent is one such example. In fact, the case of Pakistan is of special relevance to us since the birth of Bangladesh is inextricably related to Pakistan and its Islamicist ideology.
  And, this is the second major development within which is placed the answers to many of the problems with which the Muslim world is grappling with today. Nationalism as Benedict Anderson has told us was the result of communities imagined to be able to live together in harmony. In the past or during the times of medieval Islam or Christianity such imagined community often forged the idea of nationhood in the people’s consciousness, a fact pointed out by Salman Rushdie in his essay “In God we trust”. Pakistan was such an imaginary community fusing Muslims from East Bengal with the belligerent Punjabis from the North to form a nation who would solely exist based on their religious ordination.
 The birth of Pakistan finally established Islam as a powerful determinant of national consciousness among the Muslims of Bengal. However, this Islam-inspired nationhood would suffer a catastrophic defeat with the emergence of Bengali nationalism which was linguistically inspired, hence, secular in nature. This new breed nationalism inspired Bengalis-predominantly devout Muslims in private life-to oppose the imagined Islamic nation of Pakistan who would eventually fight a war to break free of Pakistan. Yet, a group of Bengalis who would still identify with Islamic nationalism opposed the dissection of Pakistan. Blaming Bengali nationalists as anti-Islamic and poodles of Hindu India, they would wage the most vicious opposition to our Independence and brandished an unprecedented reign of terror by means of killing and raping.
Many theories have so far been presented as to what led the religious Right to oppose the creation of Bangladesh. For answer, we have to revert to Ziauddin Sarder’s   poignant analysis of Wahabi fundamentalism since the Islamic state of Pakistan conceived in 1947 was nothing but an attempt to re-create another Saudi state in the sultry subcontinent, but with the slightly dilutions of Wahabi principles in the form of Moududi-devised Islamism.    The Right, as previously argued, was able to taste power in the new state of Pakistan. In fact, such an intimation of power was only delusional since the Pakistan state was controlled by the elites and the military. It is the same elite and the military who would provide the simulated orchestration of the breakdown of the Islamic republic which the mullahs grabbed with considered naïveté.  Maulana Moududi’s supporter in Bangladesh, the Jamaat-i-Islami saw in the creation of a Bengali state a greater diminishing of their stakes. Hence, they virulently opposed Bengali nationalism.
It was only in 1971 that their ideology was won over but it did not go away from the hearts and minds of a few Bengalis who saw Pakistan as emblematic of Islamic nationhood in the subcontinent. After 1971, the feverish tide of Bengali nationalism momentarily suppressed the Islamists but with the killing of Sheikh Mujibur Rahman in 1975 and the successive military dictatorships that followed enabled the Islamists to regain space in the national political discourse of Bangladesh. Interestingly, it is only after the demise of Sheikh Mujibur Rahman that Saudi Arabia recognized Bangladesh which is suggestive of Wahabi Islam’s disapproval of Bangladeshi secular nationalism. With Saudi funding and mentorship, Islamism continued to rise in Bangladesh threatening the long standing tradition of syncretism existing in the Bengal region with regards to matters of religion and culture.
Throughout the nineteen-eighties and nineteen-nineties, Islamism continued to threaten the tolerant social fabric of Bangladesh as mullahs continued to gain strength from continuing state support. However, intellectuals and cultural activists did put up a strong resistance against Islamism and Wahabi-inspired acculturation of Islam. Things become worse following the September 11 attacks when Islamists from the UK and home-bred Islamists initiated a vile propaganda to Islamize the entire nation. Citing examples of American invasion of Afghanistan and Iraq and consistent Israeli brutality against the Palestinians, the Islamists gained widespread sympathy. However, theirs was a Wahabi-style Islamic preaching, urging people to re-read the Koran and the Hadith to resist Western oppression of the Muslims across the globe.
Alarmingly, the Islamists were able to convince many in Bangladesh since the media image they got of the treatment meted out to the Muslims everyone was very negative. They were indoctrinated overnight. Not only did Bangladesh experience terrorism perpetuated by the religious fanatics but the overall social fabric turned upside down with the upper and middle echelon of the society embracing Islamism wholeheartedly. The Islam that flourished is undoubtedly the Saudi-inspired one since conservatism and religion started running hand in hand in Bangladesh.           
The other dimension of this religio-centric, regressive progrom is how the BNP-Jamaat alliance government, the government holding state-power at that time suppressed liberal and leftist intellectuals and individuals by labeling anti-Islamic. In order to establish an Islamic polity, several attempts were made, including the politicalization of the judiciary, radicalization of educational institutions and also the Islamization of the ever-growing bourgeoisie.
  But such attempts did not turn Bangladesh into an Islamic state overnight though likelihood of such Islamic polity were not over-ruled by many during the time Bangladesh went through this peculiar crisis.  Already discussed previously, a further analysis of the intellectual and national movements undertaken by the Bengali people will make it clear any attempt at Islamization of Bangladesh will not be able to compete with the long secular tradition that has enabled the creation of the Bangladesh of today. Despite, whenever the magical years of 1952, 1971 or the dates of 21 February, 26 March or 16 December are spoken of, a few stomachs churn. For the Islamist, 14 August 1947 is the moment of glory when Islam was revived and it happened with the formation of Pakistan, the reason behind the idolization of Pakistan having already been stated.
   Thus, the emergence of Bangladesh in 1971 is a strong evidence of the futility of the Islamist ideology of a united Muslim nationhood.  Bangladesh’s emergence is also significant in the sense that it had punctured the religious nationalism, the core of Pakistani statehood. More importantly it had addressed the calls of the Bengali people who have been colonized for ages. Ahmed Sofa in his “Bangali Jatee Ebong Bangladesh Rashtro” (the Bengali people and the state of Bangladesh) argues that the simplistic notion of identifying the birth of Bangladesh with the language movement of 1952 hides the complex factors that are at work in the creation of a nation. He identifies certain factors such as the people’s willingness to disentangle from the Islamist Pakistani nationhood, the rallying capability of Sheikh Mujibur Rahman and also the political atmosphere of the time that had contributed to the emergence of Bangladesh. Sofa writes that to emerge as a real nation Bangladesh must strive to become a “secular society” though Islam and its influence on the Muslim majority is immensely significant (Sofa 259).  
 The secularism that Sofa envisions in his essay has continually been threatened in Bangladesh with the two successive military regimes playing Russian roulette with our constitution. Hence the national identity has never attained a strong secular nature, however, the constitution of 1972 had defined secularism as one of the main pillars of Bangladeshi nationhood. With the de-secularization, a narrow, fundamentalist interpretation of Islam that had swept the backward Muslim societies of the world has had a profound impact on the Bangladeshi society also.  Serajul Islam Choudhury, a noted Marxist intellectual has made similar arguments in his writings. In his work “Sangskritir Protipokho, Vetore Ebong Baire” he opines that ‘tension’ persists in the cultural milieu of Bangladesh with the Ijtema, a Islamic gathering pulling crowd in the form of the common folks while the bourgeoisie youth revel in a Bonnie M concert at the Army Stadium. For him the cultural seeds of the Bengali people lie far deeper than mere mimicking of the Arabs or the West.    
  Despite the recent halting of the fundamentalist zeal, it continues to lurk ominously in each and every corner of our society, threatening the composite social fabric of our nation. Pahela Boishakh comes each year with the message that a mass gathering can be inspiring sans the fanatic zeal that accompanies religious gatherings.  Mohit ul Alam, Professor of English and columnist for the well-known Daily Prothom Alo argues in his article “Sangskritir Missron: Shamghad O Bikalpa” (Prothom Alo 2011) argues that the Bengali culture has always been composite despite there have been attempts to impose religion. He thinks the attempt to impose middle-eastern conservative culture has utterly failed as has the attempt to impose the Bollywood culture. He writes: “… the signs of an advancing society are that it is able to locate its own culture, create links with other cultures and also is able to produce and reproduce the native cultural elements socially and economically. These processes are in full swing in Bangladesh” (my trans.).
  If we take ul Alam’s argument into account we will see that heterogeneity is an integral aspect of our culture. More importantly Islam, the religion of the majority today, came as a religion of peace to heal the ever dividing social gaps between the upper-caste and lower-caste Hindus. Instead of becoming the opium of the masses, it had come to the masses as an emancipatory cultural force. It had inspired a great cultural revival, fostered and nourished the agrarian communities of the Ganges plain. However, the Islam that Bengal found itself to be a new cultural force was socially and economically complex with the language and class barriers separating the rulers and the ruled.
  Hence an oversimplified notion of Islam that the right wing parties of Bangladesh try to impose is not only devoid of history but also a threatening fascistic tendency that is to be rejected at all costs. Just as it is important to acknowledge the overwhelming impact of Islam on our culture, it is equally important to understand that the Bengali culture has a strong historical precedent dating back to the arrival of Islam in the subcontinent. A critical stance towards all forms of simplification or essentialization is urgent today, be it the evaluation of the role of Islam in our society today or be it the idea of nationalism or national consciousness as a privilege uncritically celebrated or taken advantage of.
  Pahela Boishakh’s reminds us of our cultural and anthropological heterogeneity. We should continue to celebrate it without any zeal yet with a passionate understanding of the different forms of cultural elements that the Bengali people have picked throughout ages not only from the Hindu, Buddhist and the Islamic past but also from the English colonial past. The end result is amalgamation, hybridization, the birth of a nation-state that is culturally rich yet fighting to survive the ills of decolonization that quasi-modern nation states are still enduring with the ending of Anglo-Franco colonization. With Pahela Boishakh instilled as our Praner Uthsab (festival of our heart) we can at last say that we have been able to ward off the ghost of reductive theocratic culturalization from our national consciousness.

Works Cited:

Ahmad, Aijaz “The Politics of Literary Postcoloniality” in Padmini Mongia (ed) Contemporary Postcolonial Theory: A Reader. New York: Oxford, 2007. Print.   
Choudhury, Serajul Islam “Sangskritir Protipokho, Vetore Ebong Baire” in Bhuter Noy, Bhabisshater, Dhaka: Oitijjhya. 2002. Print.
 Lintner, Bertil “BANGLADESH: A cocoon of terror” in Far Eastern Economic Review, Hong Kong, April 4, 2002, pp. 14-17
Rushdie, Salman Imaginary Homelands. London: Vintage, 2010. Print.
Said, Edward Culture and Imperialism. New York: Knopf, 1993. Print.  
Sofa, Ahmed “Bangali Jatee Ebong Bangladesh Rashtro” in Morshed Shafiul Hasan (ed) Ahmed Sofa: Nirbachita Prabandha (Selected Essays of Ahmed Sofa). Dhaka: Mowla Brothers, 2002. Print.
Ul Alam, Mohit “Sangskritir Missron: Shamghad O Bikalpa”, Prothom Alo, 2011.
Ziauddin, Sardar “Is Muslim civilization set on a fixed course to decline”. Retrieved 16th July 2009 from http://www.newstatesman.com/200406140018.