In harmony
Odour and pollution are often synonymous with parts of Hazaribag, Dhaka. In a mockery of its meaning, tanneries have reigned supreme here–to the dismay of the residents–instead of the thousands of gardens that should have graced the area. So, when my dear friend called me up for a trip there during my recent visit to Dhaka to offer a pleasant surprise up his sleeve, I was sceptical to say the least. All he asked for was a few hours of my time. I had always had a high degree of respect for his intellect and the artistic mind. So, I decided to take him up on his offer, albeit with reservation.
As we drove into the area one afternoon, I could not quite fathom his irrational exuberance because nothing really stood out to me. When we stopped in a nondescript alley surrounded by graffiti and small shops, wrapped in a cacophony of traffic horns and ear-piercing rickshaw bells, I began to regret my decision. Just a block away, an ordinary-looking building stood with a logo of a chicken at the top. Formerly the "Mukti" tannery building, it now housed the Brihatta Art Foundation in a transformation that would, in a short while, present a new landscape in which I would reshape my thoughts about my world.
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Out went the stench, and in came an artistic expression of harmony. Yes, art is perhaps the last thing I could imagine here, given the history of this place. This was an abandoned tannery that the foundation had chosen to establish as an urban green space to foster creativity and imagination. The foundation also used this space to host exhibitions by various artists, local and international alike, invite participation by visitors, and run programs year-round for the young curious minds. One such exhibition had just ended here a few days ago. I walked up the first flight of stairs to a welcoming logo of a red chicken on the wall. The slogan underneath proudly read "Dream of Human Nature". I now saw the anticipation in my friend's eyes as we ascended the final stairs into the entrance of the foundation. The world that greeted me stood in stark contrast to what I had just seen below. It felt like a "beam-up" by a Star Trek transporter to a different level of consciousness.
The second story boasted nice open airy balconies, overlooking the street below, embellished with lots of neatly arranged plants that exuded the warmth, greenery,, and the rich artistic minds of the founders.
Bishwajit Goswami, a bearded co-founder in attendance came across as a very articulate and affable individual. An art educator and an avid artist running this place with finesse appeared quite a raconteur as he told me a fascinating story.
The just-concluded exhibition by a Belgian artist Koen Vanmecehelen, curated by Bishwajit, showcased the Cosmopolitan Chicken Project (CCP). I could now see how the exhibition logo came into being. The chicken represented the theme of vibrant living and diversity in humanity.. But diligent crossbreeding has resulted in a cosmopolitan chicken–comprising genes of over 28 iconic chicken breeds from different cultural regions. When I entered the main dimly-lit hall, I found a few chickens still wandering about within an enclosure. The very idea that we, the dreamers, dream of living in harmony with one another and in peaceful coexistence with nature, manifested itself in an amazing blend of science and art to a great effect. I thought it was a great message in a world fraught with hostilities and divisions today. It evoked in me the feelings of the great John Lennon in his famous song "Imagine"; I imagined all the people living life in peace.
The exhibit "Dream of Human Nature" leads us to our dreams of being in harmony with the inclusive nature of our natural habitat that celebrates diversity. These are our shared dreams that inspire a sense of community–we are all in it together.
The term "Brihatta" conveys the vastness of this concept of interconnectedness woven into a colourful tapestry of nature that we live in. This exhibition was unique in that it also let the visitors be a part of the whole experience, inviting them to be hands-on creatively with paint brushes on canvas, or pottery of locally crafted figurines, chickens, and eggs.
This was a huge gallery that housed the chickens on one side to inspire the theme, and a large canvas, hung on the wall with a table full of oil and water colours and brushes for the visitors to express themselves. I could see a thick heavy book and a magnifying glass perched on a table. This book had the genome sequence of a single species of chicken. As I marvelled at the intricacy and length of genetic details, I wondered about my own genetic makeup in a realisation that we are all a part of nature, and this was how we got to discover ourselves. Koen used art as a medium to shape this harmony.
The hall extended into another room where there were copies of translations of the genome sequence in Rakhine and Bangla. I then saw an array of earthen eggs and chickens on shelves, many of them painted in different patterns and colours by the participants. The entire hall was very artistically inviting for the visitors so that they would be inclined to participate. On a wall close to the entrance of the hall, were a bunch of monitors constantly playing the genome theories narrated in monotone by scientists in different languages. The message of harmony seemed accentuated by the juxtaposition of this small cacophony with the rest of the setup. The reddish hue of interior lighting matched the colour of the chickens.
This hall led to Bishwajit's spacious and aesthetically pleasing split-level office, shrouded from view by sliding doors. Plants, paintings, and sketches adorned it, and there was a huge working table on one side. The embrace of nature was readily palpable with ample light filtering through the windows of various meaningful geometric shapes for a tête-à-tête with the plants. One intriguing aspect was a window featuring two panes. These two panes together spelled "Ma". I felt I could spend hours here ensconced in the lap of nature. His office surely radiated cachet with neatly arranged flowers in vases, pots, and chic furniture. The small statue on a window sill looking out with open arms shrieked liberation to the world.
My final moments in the space constituted a denouement of sorts where all pieces converged to take on a bigger meaning. Bishwajit sat with me over cups of refreshing oregano tea to elucidate a purpose of life, as he saw it. The whole thing had come into being during the Covid-19 pandemic, he said. This was a time of fearful isolation for many. So, after the pandemic, he felt the urge to create a cohesive community through the appreciation of art and nature in an effort to liberate the soul. In this context, he pointed out, "Mukti" was the name of this abandoned and run-down tannery that symbolised liberation. In Hazaribagh, he found no garden. So, he had created a green space to evoke the gardens where everything could come together to play. This sense of togetherness would dispel the feeling of detachment. This community, he argued, wasn't just made up of humans of all stripes, but also of every element of nature, including all living things, and objects. An eager cat, overhearing him, tiptoed in and sat down beside us to learn more about her role in all of this. Birds flying overhead paused and took their seats on small branches around us, as if to complement his philosophy. He dreamed not only of a harmonious co-existence, but also of our contribution to it. He sought to inspire others to embark on more of these types of projects. To wrap it all up, he pointed to two giant hollow steel frames stuffed with small discarded strips of leather. These two together spelled the word "Ma" in Bangla. He referred to "mother" as an entity that lovingly nurtures this interconnection.
I was in total awe. This whole experience lifted my spirits and showed me a new way of feeling oneness with nature, of seeing things in a different light. Profound joy emanated from my soul.
I thanked my friend from the bottom of my heart for such a wonderful eye-opener. For a start, Hazaribag had at least one garden now.
Arif Shahjahan is a contributor to The Daily Star.
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