Are 90% of our buildings unsafe?

THE Savar disaster on April 24 has engulfed the people of this country with both grief and panic. We are very much together with those who have lost their beloved ones in the disaster. We are panicked that this is not the end. There may be more forthcoming, and might be with more severity. Prime Minister Sheikh Hasina said on April 25 that 90% of our buildings have been constructed without following the building code.

Does it mean 90% of our buildings are unsafe? No, it does not mean that, but albeit, many of those 90% buildings are unsafe. The Rajdhani Unnayan Kartripakka (Rajuk) has the list of those buildings. We have to sort out the unsafe buildings on an urgent basis. Along with that, we shall have to take appropriate structural measures (if possible) to make them safe, otherwise, demolish them to prevent disaster.

It is true that the construction and garments sectors are contributing to the growth of the economy tremendously. But the construction industry is run with bribes, illegal occupation, extortion etc., in purchasing or possessing land, approval of design, obtaining bank loans, procurement of construction materials and in the work execution. As a result, many of the posh buildings resound with the cries of the cheated people, and residents live with the fear of collapse.

In Bangladesh, ownership of a piece of land is either through inheritance, or by purchase, or by occupation, or through power of attorney; but occupation plays the only effective role. The occupier may not be the real owner, but grabs not only the land, but also the public land in the vicinity. No law, no law enforcing agency or public anger can deter them from such acts. Thus, the culprits are reigning all over the country, with blessings from their political masters.

It is known that most of the buildings are constructed beyond their approved design, but no punishment has ever been imposed on the perpetrators. Rajuk has filed a case against the Rana Plaza owner for violating building codes, but why did it not do so before the disaster?

A building has two major parts, substructure (below the plinth level) and the superstructure. Whatever may be the size of the building, it should stand on a stable foundation. If the building has organic or filled up soil beneath, it should have dug-in piles to obtain enough load bearing capacity by skin friction. In and around Dhaka city, we have Pleistocene Age hard soil at many places, but we have filled organic soil in the lowlands and ponds.

A large structure anywhere should rise from the bottom of the piles considering (1) Dead Load of the full structure to be built, (2) Live Load of the movable equipment, furniture, fittings and the users and (3) Vibration Load due operation of equipments, movement of people etc. Nowadays, Earthquake Load is also added to design a safe structure. Nonetheless, the construction materials used play a vital role in the stability of the building. For added security, an engineer imposes two to three times factor of safety in designing the structures.

The Rana Plaza in Savar was 10 stories high, more than the approved design of 5 stories. We can say that the building collapsed because (1) the design was given without any factor of safety, or (2) the load imposed over 5 stories exceeded the factor of safety, or (3) poor materials or less materials were used in the construction, or (4) the live load was more than estimated or had heavier duty operations, or (5) the foundation was laid on poor soil beneath or not stood on sufficient number of piles.

It is reported that there was heavy extra load on the rooftop and electricity generators on every floor. On the day of the event, there was load shedding in the area, and when the generators started the building collapsed within seconds. However, this did not happen all on sudden. Before the disastrous event, the building authorities had noticed some cracks in the columns of the structure, but ignored it.

Enough should be enough by now. For the last 42 years we have not seen any political government rise above party interest to work for the people. Today’s anarchy, in every public sector, is the result of that. I hope the concern raised by the prime minister will create a new wave in our society. Now the time has come to wake up and work together, to make our homes safe for ourselves and our children.

Int’l theatre fest kicks off in Jessore

“Hridaye Bangla Natok”, is the theme of the international theatre festival that kicked off on Sunday in Jessore. The six-day festival is jointly organised by Bibartan Jessore, Tirjok Chittagong and Drishtipath Dhaka. Apart from the organisers, Sharavuj and Prachya Kolkata, West Bengal will give performances at the festival.Lawmaker of Jessore-3 (Sadar) will inaugurate the festival at Shilpakala Academy.On September 22, “Bisharjan” of Tagore will be staged by Bibartan Jessore. The following day, Tirjok Chittagong will perform “Rakta Korabi” by Tagore. On September 24, “Dakghor” by Tagore will be performed by Sharavuj. On September 25, Drishtipat Dhaka will perform “Raja Himadri” by Sophocles and translated by Dr. Khandakar Tazmi Noor, a Kolkata troupe will perform “Romeo and Juliet” by Shakespeare on September 26. The last day of the theatre festival will feature “Supari Killer” by Brattra Basu.

Iridescent Washes and Squiggles

Shohag Parvez’s subjects are often the toiling, simple workers of Bangladesh and Nature. The artist has captured details of the Marma, Tripura and Chakma communities. Apart from the hilly region, he has also brought in the fishermen and the boatmen of the flatlands. Cow-boys tending the cattle and goats the cows and buffaloes ; gypsies in boathouses ; the elements of Kalboishaki and cyclone also provoke his artistic inclinations .
The young artist admits that his favourite media is watercolour  combined with Indian ink and pen. He says that he is most inspired by the paintings of Zainul Abedin, SM Sultan and  Qamrul Hassan. He also greatly admires Pablo Picasso, Vincent  Van Gogh and Salvador  Dali.
Acrylic also fascinates him—he loves the effect of putting layers upon layers.

Nowkar Ghate

When the artist was in Class eight, he got the National Child Award for art. He has been successful in establishing art schools at Bheramara and Meherpur. In 2000, he was admitted to the Department of Fine Arts, with Hashem Khan as his main teacher. At the end of the first year, he fell very sick with typhoid ad jaundice. Life in the hostel really affected him badly. He, however recovered in Kolkata.
“When I was well  in 2004, I began painting again , with book illustrations which brought me fame. In 2013 I was lucky to get the ‘Agrani Bank Shahitto Purushkar’. Side by side, I exhibited overseas—in India, Japan, and the  US,” the painter says.

Apart from the five solo exhibitions, he has participated in 15 workshops and 42 art camps.
Among the water colour washes in ‘Banglar Ru’ there is Kal Boishaki , with boats and humans turning the hanging on against a dark , ominous sky. The demonic sky above has sweeps of amber, mixed with flamingo pink. The main subjects are sketched out delicately with the pen and ink. The horizon sees bars of burnt amber with sap green. The water is brought in with streaks of mauve, chrome yellow and white. The masterful strokes are confident and laid on without any hesitation.

Marmar Ghore Fera

In ‘Murongpara’ the artist has brought in each clump of tree-leaf with précision. Olive green has been used for the restful leaves. The house of bamboos has young faces peeping through each window. Women, in orange garb, are in the forefront. The areas left blank, add to the delight of the brown and green creation.
‘Marmar Ghore Fera’ has tiny people, with back-packs making their way on a circular road. Houses and leafy trees are brought in the back as well as outline of houses in shades of pink. As the eye travels further at the back are tree-covered hillocks. The contrast between the blank spaces and the colours for brown and sap-green lend neatness to the creation.
Yet another wash of water-colour that catches the eye is ‘Nowkar Ghate’. This brings in barges with buoyant patched sails, big and small. With cattle and humans on the shore, looking on Shohag Parvez’s solo exhibition began 13 September 13 and ends after two weeks. The location is the Dhaka Art Centre at Dhanmandi, at the hub of the city. This is the artist’s fifth solo.
A student of Hashem Khan and Nasreen Begum, he studied for eleven years at the Institute of Fine Arts, DU. His other instructors and guides included Shishir Bhattacharya and Sheikh Afzal—who are both known for their eye for detail.

The Nawab’s Last Bow

“Nawab, these things are all yours. Please take anything you want. We can’t ask any price from our beloved Nawab.” These were the words offered by the shop keepers of East and West Bengals, not to any real Nawab but to a phenomenal actor through whom Nawab Shirajuddoula, the tragic hero of Bengal, got a silver screen reincarnation. Anwar Hossain, the legendary hero of Bengali film industry, left this mortal world on September 2.
Hossain was the unheard voice of the oppressed masses of Bangladesh. The origin of his compassion for the downtrodden can be traced back to his early life in Sorulia village of Jamalpur district, where he was born on November 6, 1931. He continued his study and passed Matriculation in Jamalpur in 1951, a time of communal tension following the fall of the colonial rule. Then he was admitted to Anandamohan College of Mymensingh.
His first stage performance dates back to his school life. He first acted in the drama Podokkhep, authored by famous playwright Askar Ibn Shaikh. As a cinemaholic, he was a fan of Chhabi Biswas and Kanan Devi, the top two film stars of the vintage era. He never pursued any other profession after completing his studies, as his passion for silver screen made him determined to take it up as his profession. In 1957, he came to Dhaka and talked to renowned movie director Mahiuddin. This veteran director didn’t make any mistake in recognising the latent talent of this gifted actor.
In 1958 Anwar Hossain played the role of a villain named “Biren” in Mahiuddin’s movie Tomar Amar. His skill and talents made this character even more popular than the hero of that film. There was no turning back after that.
From the late 50s he has worked in cinema till 1985. During his highly diversified film career he starred in more than 500 movies. Many of his works became incredibly popular in both the Bengals and in Pakistan. In 1967, as an actor, he challenged the definition of popularity by acting in the movie Nawab Shirajuddoula as the last Nawab of Bengal, Bihar and Orissa. His acting was so perfect and well admired that the people of Bengal named him the uncrowned Nawab of Bengal. Still he is and will be respected with this honorific title for his unforgettable performance. The movie was directed by Khan Ata, another veteran film director of Bangladesh.We know of Sirajuddaulllah from the rugged pages of our history book. But Shiraj’s spirit of independence, the essence of his patriotism, his love for his subjects and this land became alive in Anwar Hossain’s performance. He showed the characters of a true leader of the oppressed masses of the then East Pakistan.
He has worked with famous director Jahir Raihan in the epic movie Jibon Theke Neya which was released during the troubled time of 1970, where he played a political leader struggling for people’s rights and in return persecuted by government machinery. It was an allegorical presentation of the then East Pakistan, exploited by Pakistani military rule. The film presents our national anthem Amar Shonar Bangla in Hossain’s voice (it was not the national anthem at that time). The famous revolutionary song of Nazrul Karar oi louho kopat¸ sang by Hossain, largely inspired our people in their struggle for self determination.
Anwar Hossain was never involved with politics but he always stood beside the oppressed through his screen performance. Thanks to his friendship with Motlub Anam, son of Abul Mansur Ahmed, he also participated actively in our great Language Movement.
Throughout his acting career Anwar Hossain performed in more than 500 commercially successful films. Some of his highly popular films are Tomar Amar (1958), Shurjasnan (1962), Joar Elo (1962), Knacher Deyal (1963), Nachghar (1963), Dui Diganta (1964), Ekaler Rupkotha (1965), Shatrong (1965), Raja Shonyashi (1966), Ujala (1966), Nawab Shirajuddoula (1967), Jibon Theke Neya (1970), Orunodoyer Ognishakkhi (1972), Lathial (1975), Golapi Ekhon Train a (1978), Bhat De (1984). Renowned cinema hall Balaka was inaugurated with his movie Dui Diganta on May 1, 1964.
He has worked with many legendary directors such as Khan Ataur Rahman, Shubhas Dutta, Zahir Raihan, Amjad Hossain and many others. All along his life he has cherished his work experience with Zahir Raihan, one of the martyred intellectuals of our great liberation war. He has acted as the hero in three historical movies directly related to our national revolution. Titumir, Isha Khanand Shirajuddoula. His performance has inspired the people of Bangladesh to fight against oppression and exploitation.
Anwar Hossain was also very famous among non-Bengali cine-buffs. Many of his Urdu films became block busters in the pre-independence period. Some of his famous and original Urdu movies are Shatrong, Ujala, Tum Mere Hote and Nachghar. Most of his movies of the pre-independence era used to be dubbed in Urdu for West Pakistanis.
One of his memorable works was Palanka. In this Rajen Tarafar flick, he starred as Maqbool and Shandhya Roy was the leading lady. The depiction of tension during the deadly partition of India and Pakistan and Anwar Hossain’s skill of juxtaposing himself with the plot was loved by the audiences and critics alike. Seeing Anwar Hossain’s performance, celebrated director Shatyajit Ray hugged him and congratulated profusely.
Anwar Hossain has been adorned with many awards. For the epic Shirajuddoula he was awarded with the distinguished Nigar Award of the Pakistan Government. He won the Best Actor Award in 1975 for his performance in Lathial. He won the Best Actor in a Supporting  Role Award in 1978 for his performance in Golapi Ekhon Train e. He was given the Ekushey Padak in 1988, one of the highest civilian awards conferred by the Bangladeshi Government. He was the first actor to be awarded with this prestigious medal of honour. In 2010 he was awarded with the National Film Award (Lifetime Achievement).
But his awards and medals could not keep away the loneliness  of our uncrowned Nawab. After the retirement, life of this iconic actor did not remain a happy one. Being isolated from the cinema world, he became very frustrated as he had dedicated his entire life to cinema. Actually he led a life in solitude with his wife in a small apartment in Kalabagan. Before the recognition of 2010, almost no one from our film industry remembered the contribution of this actor.
Anwar Hossain is the flag bearer of our film industry. A two page tribute article cannot describe his vastness as an artist. His life gives us an invaluable lesson– dedication and brilliance are important for an actor to be successful in the film industry. Our actors and directors, who use enormous resources to make ‘blockbusters’ should be reading this carefully.

SILENCED AND SUPPRESSED

On her wedding night, a girl gets raped by a goon in her bedroom. Her fiancé tries to be her saviour, stating heroically that he still intends to marry her, stigma and all. The girl, shockingly, refuses, crying out desperately that the only way she will get her ‘chastity’ back is by marrying her rapist. Suicide is the only other alternative.As a child growing up in the 90s, I saw countless such Hindi and Bangla movies with the same plot of a girl being raped and the rapist being “pardoned” for his crime when he agrees to marry the victim. When I revisited some of these movies as an adult, I couldn’t understand how my parents didn’t object to the message so blatantly depicted in these films. I couldn’t understand why viewers accepted this twisted logic quietly, without raising as much as an eyebrow to express any kind of discontent. Even now, when rape victims are finally given a voice, when this issue is finally being seriously addressed, these movies still find a spot on TV channels; they still have viewers watching them. This, for me, shows how we as a population perpetrate rape culture. It shows how we are a part of this culture; an unwilling, silent, reluctant part, perhaps, but a part nevertheless. Rape culture is one in which sexual violence is common, accepted, normalised, tolerated, or even pardoned. Is rape common in Bangladesh? So much so that many feel only indifference when they hear or read about an incident. Is it accepted? We probably would not be having this discussion if it weren’t. Is it normalised? Rape jokes are common, we even hear songs glorifying violence against women, so that’s another yes. Is rape tolerated and pardoned? As cases time and again have proven, society is more willing to put the blame on the victim for “inciting” sexual violence upon her than the perpetrator, whose perverted act is condoned because he is a man with “natural urges.” So, does Bangladesh have a rape culture?A United Nations survey report has revealed nearly a quarter of men surveyed in the Asia-Pacific region say they’ve raped a woman at least once in their life. The study was based on anonymous interviews with more than 10,000 men aged 18 to 49 years from Bangladesh, China, Cambodia, Indonesia, Sri Lanka and Papua New Guinea. Of those men who said they had committed rape, around 45 percent said they had raped more than one woman. Moreover, almost three quarters of those who admitted rape said they did not experience any legal consequences.The numbers are alarming but are they truly shocking? In a culture that punishes a 14-year old rape victim by sentencing her to 101 whip lashes for engaging in an “affair” with a married man, can we truly say that we didn’t see this coming? Teenagers, ten-year olds, five year olds, even two year olds are brutally raped, and we still talk about women ‘asking for it’, as if a person would intentionally request to be sexually, physically and emotionally battered and humiliated.Society normalises rape by humiliation and sanctioning violence against women in the name of social norms, says human rights activist and Executive Director of Ain O Salish Kendra (ASK) Sultana Kamal. “Family and the society are places where indoctrination and socialization of patriarchal values nurturing principles of male hegemony over women – which motivates both men and women to accept it as natural – takes place. The socialization process ensures men’s control and disciplining power over women’s body, mobility and labour,” says Kamal.The UN survey also discovered that nearly three quarters of the respondents thought they were entitled to force sex on a woman because they “wanted her” or “wanted to have sex.” Unsurprisingly, 38 percent said that they raped a woman to “punish her.” In a society that lets rapists go with barely a slap on the wrist, rape becomes a way to establish men’s masculinity, their “right” over women.We have a culture of playing down violence against women, says M Imdadul Haque, Professor of Sociology at the University of Dhaka. “Usually, when you hear of such incidents, the general reaction is not outrage but rather a feeling of empathy towards the rapist. Men will be men, how else will they behave, the girl should have been more careful; these are some of the things you hear when rape is reported,” he says.Ours is undeniably a patriarchal society, which means that men feel that they have a power over women that they are not frightened to exercise. And why should they? Along with a culture of rape, we have a culture of impunity where rapists are rarely brought to book. It’s the girl who is blamed, the girl who is held responsible for tarnishing her family’s honour and thus, it’s the girl who is ostracised and punished for life.How frightening might it be for a woman who has been brutally battered by a man to spend the rest of her life with him? And yet, many village shalish (rural bodies responsible for dispute resolutions) and family of rape victims believe marriage to her rapist to be the best way to help the girl get rid of the stigma, and prevent the man from going behind bars. Here again lies a concern for the rapist rather than the victim. The complete lack of consideration for the rape victim is evident; her feelings are discounted, the violence she had to suffer is laughed off.Instead of boosting her confidence, we contribute in killing it entirely, ensuring that the culture of rape continues unchallenged.

Predictably, we don’t have any law criminalising marital rape. Society doesn’t merely let marital rape go unpunished. By turning a blind eye to it, by pretending it doesn’t happen, by tacitly encouraging, even forcing victims to stay with their rapists, and shaming those who manage to break away from the sexual violence, society is actively complicit in this heinous act every time it happens. “The main reason why we haven’t been able to pass a law against marital rape is the general perception that it doesn’t exist,” says Kamal. “It is socially accepted that the wife will have to give sexual allowance to her husband even if she doesn’t want to.”Alarmingly, of those who admitted to forcing someone to having sex with them, half were teenagers, and 12 percent were younger than 15 years old. These youngsters, not even old enough to comprehend their actions, learn from the examples set by their adults. Forcing sex is considered to be an act of bravado by our patriarchal society, and thus, knowingly or unknowingly, we let our youngsters become a part of this monstrous culture.“Sex is still considered a taboo in our closed society, and healthy discussions about this subject are discouraged in most households. This leads to an unhealthy curiosity amongst teenagers who are already at a vulnerable age. They see the changes in their bodies, feelings and emotions but there is no one they can talk to about these things. Some of them channel their energy in the wrong direction, unaware of the devastating consequences of their actions, as they don’t even think that they are doing wrong,” says Kamal.It is just not enough to bring rapists to justice if we are unwilling to address the problems that form the core of rape culture. The problem lies in our misguided notion of masculinity and eagerness to blame the victims. The problem lies in our view of women as lesser beings, as mere objects. The problem lies in the tendency of shaming women based on what they wear, how they walk, how they interact with others. And we need to acknowledge these problems.We need to teach our boys that catcalling on the streets is NOT okay. We need to teach them that women are NOT their property and their bodies and minds are NOT to be subjugated or dominated. We need to tell our boys NOT to rape instead of telling our girls to not get raped. We must stop implying, even casually, that a woman may be “asking for it,” that her body or her character or her personality might make her deserving of sexual violence. We need to do all that because rape is not just an act of sexual violence, it is an act of dominion, an act that denies a woman her personhood.

Documentary as cinema

Women’s claustrophobic lives in an Afghanistan prison, horrific human rights abuses of the Sri Lankan civil war, migration, environmental havoc or plain narratives–these are just a few subjects of the documentaries to be screened at the upcoming Film Southasia 2013 in Kathmandu, Nepal. Starting October 3, over four days, film buffs can look forward to films that cut across the swathe of South Asia.The documentaries come from Afghanistan, Bangladesh, Burma, India, Nepal, Pakistan and Sri Lanka. Many are either collaborations or individual endeavours of foreign filmmakers working in Southasia.From Bangladesh come films like “Are You Listening!” (Shunte Ki Pao!) directed by Kamar Ahmad Simon and produced by Sara Afreen, “Bishkabbo” (The Poison Teller) by Shabnam Ferdousi and “Hartalnama” (The Strike) by Farid Ahmed. The films deal with the hard contemporary realities of Bangladesh. “Shunte Ki Pao!” journeys into the precarious lives of a family who struggle to pick up the pieces of their lives after a tidal surge devastates their coastal village Sutarkhali. “Bishkabbo” is a story of three slum dwellers who sell insecticides in Dhaka. At one stage they realise that there is no difference between a cockroach and themselves. The life of insect and man merge disconcertingly. “Hartalnama” is a hardhitting film that traces the glorious history of the hartal and its present violent and politicised face.Critically acclaimed “Shunte Ki Pao” is the first Bangladeshi film to win the Grand Prix at the 35th Festival Cinema Du Reel in Paris.Other Southasian countries are not to be left behind. “Algorithms” (India) directed by Ian McDonald is the first feature documentary on blind chess. “Celluloid Man” (India), based on the life and work of PK Nair, founder of the national Archive of India, was awarded the national Film Award (India) for Best Historical Reconstruction. Dylan Mohan Gray’s “Fire in the Blood”, too won much acclaim. The story of the exploitation of African countries and the South by western pharmaceutical companies and governments, “Fire in the Blood” was selected for the Sundance Film Festival.”Juliet Lamont’s “Miss Nikki and the Tiger Girls” is an incisive and entertaining story about Burma’s first girl band. Women’s claustrophobic lives in an Afghanistan prison is the subject of “No Burqas Behind Bars” by Nima Sarvestani. Pakistan is represented by “Saving Face” among others. The film, presented the Academy Award for Best Documentary Short Subject, recounts the stories of two acid attack survivors.“No Fire Zone: The Killing Fields of Sri Lanka is the story of some of the worst war crimes and crimes against humanity of recent times. The film by Callum Macrae has received much praise for its bold journalistic endeavours, says Nishchol Oli, programme coordinator for Film Southasia 2013.Nepal’s “Playing with Nan” by Dipesh Kharel and Asami Saito is the unusual story of a Nepalese man who migrated to work in a Nepali restaurant in northern Japan.“This year’s FSA is definitely different from its past editions. We are featuring more student films, more experimental shorts; there are two global films that contextualise South Asian issues on a larger global scale. We are also hosting two packages, one in association with National Institute of Design’s Alpavirama Festival and the second one that focuses solely on the country of Afghanistan,” says Oli.The documentary has clearly gone beyond the soporific, simple narrative accounts of yesteryears. FSA’s motto “Documentary is Cinema!” says it all.

A landmark musical journey

With the theme “Taan-e Taan-e Pran-e Pran-e Ganth Nandanhaar”, Government Music College in Agargaon, Dhaka, celebrated its Golden Jubilee (1963-2013) by holding a vibrant musical event at the main auditorium of Bangladesh National Museum on September 21. It may be noted that the college was founded by Pandit Barin Majumdar.Present and former teachers, students, alumni, noted artistes and cultural personalities attended the programme that featured solo and choral renditions of songs and instrumental recitals.The artistes set off the event with a choral rendition of the national anthem. Several violinists orchestrated a performance, directed by Dr. Sheuli Bhattacharjee, an Assistant Professor of the college.Vocalist Mohammad Shoyeb rendered a melancholic raga “Darbari Kanada”.As an ode to the season autumn, artistes of the college performed a Nazrul song “Esho Sharod Prater Pothik” while noted soloists including Yakub Ali Khan and Abida Sultana presented “Daraley Duar-e Mor” and “Bhuli Kemoney” respectively. Abida Sultana also made the packed audience sway with her folk treat of the song “Banshi Shuney Aar Kaj Nai”.Following his passionate performance of the monsoon genre “Rimjhim Rimjhim Jhim” by renowned Nazrul singer Khalid Hossain, the audience encored for more –a request he declined. Popular artiste Ferdous Ara performed “Keno Bajao Banshi”. The rendition, accompanied with apt rhythm of kaharba by Swarup Hossain, was evocative as noted flautist Gazi Abdul Hakim produced a melodious piece in it.Asgar Alim, son of the legendary folk maestro Abdul Alim, enthralled the audience with his sonorous performance of the song “Sorbonaisha Padma Nodi” at the event.Among others, noted Tagore singer Tapan Mahmud rendered a solo song, Bahar recited a poem.Shahadat Hossain Khan recited classical music on his sarod, Rizwan rendered a chhoto kheyal set on raga “Behag”, performance of a choral Tagore number and ‘Sur Doria Epar Opar’ title winner Munir presented a folk song “Swarup Tui Biney Dukh” at the event.The musical programme came to an end with a vibrant folk song “Paar Kore Dey Noukaye Paar Kore Dey” performance in chorus. Tagore singer Lily Islam together with music researcher Kamol Khalid emceed the entire event.Prior to the musical performance, Education Minister Nurul Islam Nahid as chief guest while Secretary of the Ministry of Education Dr. Kamal Abdul Naser Chowdhury and Director General of Directorate General of Secondary and Higher Education Professor Fahima Khatun as special guests spoke at the event. Vice-Principal of the college Rafiul Islam delivered the welcome address. Principal of the college Professor Shameema Parveen presided over the discussion.

RMG factories shut for minister’s rally

NEARLY 400 garment factories had to close down abruptly on Saturday because of a RMG workers rally called by a federation of trade unions in the garment sector. And the minister of shipping happens to be the president of the said union.There was little rationale for the meeting where the demand for appropriate pay structure for the garment workers was reiterated. It was a wasteful exercise when there is a wage board working at the moment to finalise exactly this issue. We feel the government should work out the arithmetic of profit and loss caused by the suspension, again under duress, in so many production units. Evidently the minister used his position as leader of transport workers’ union to provide transports to carry the RMG workers to the meeting venue.We cannot empathise more with the demand of the garment workers for pay hike keeping the inflation and cost of daily necessities. But we cannot condone the violence these workers indulged in on their way to the meeting. Why were eight factories vandalised and why were highways and roads blocked by the rally-bound workers?
We are constrained to repeat our concern at the shipping minister’s embarking on the role of a trade union leader. There is clearly a conflict of interest and misuse of his position as a minister, a position he has exploited to extract undue advantages from the government. He should either be a union leader or a minister. He cannot have the cake and eat it too.

Dilapidated trade route

BANGLADESH is increasingly dependent on imports from India. According to Dhaka Chamber of Commerce and Industry, Bangladesh has imported goods worth 320,659 million USD in the 2010-11 fiscal year. The amount of exports to India although in comparison is trivial but still noticeable, amounting to 36,040 million USD. Most of this bilateral trade is done through the Haridaspur-Benapole border, since it is close to all the major commercial cities.
Although this particular border is heavily used by trucks, hundreds of tourists and medical patients each day, the roads that connect the two countries have the capacity to hold such traffic, but only just. According to a study by Rail India Technical and Economic Service in 2006, the goods traffic at Petrapole (Haridaspur) was approximately 400 trucks per day, while the 2006 passenger traffic was about 1,159 people daily.. The road that connects the major commercial and capital city of Bangladesh (Dhaka) and Benapole has a distance of about 343 km but it takes about 7 hours (excluding the ferry travel time) to reach Benapole. When it comes to India, it gets even worse. It takes about 4 hours to reach the nearest commercial city Kolkata. The road connecting Petrapole and Kolkata known as NH 35, is so narrow that two trucks often struggle to drive side by side. There are many settlements alongside the road which restrict the vehicles from cruising at a respectable pace even if the road is seemingly empty.
This is not only hampering the tourist and medical immigrants on either side of the border but is also narrowing down the trade possibilities. According to RITES, the projected traffic in 2030 on the Jessore road or NH 35 highway will be 2,938 trucks per day and the number of people traveling on either side of the border is likely to be 3,924 people per day. It is high time that the government of both Bangladesh and India think about doing something to solve this problem. For, this route holds great trade value and the betterment of it will lead to even better relations between the two neighbours.

Human Development Report 2013

MAHBUB ul Haq, pioneer of the Human Development Report (HDR), opined in the first report titled ‘Concept and Measurement of Human Development’, “People are the real wealth of a nation”. Since then the concept of human development flourished with the view to create an enabling environment for the people of a nation within which they can lead an improved life backed up by their interests and choices. The current paradigm of the concept encompasses Human Development Index (HDI), Inequality-adjusted HDI, Gender Inequality Index and Multidimensional Poverty Index; whereas the heart of the HDR the HDI focuses on three basic dimensions of human development: a long and healthy life, educational attainment and command over the resources needed for decent living.
Since 1990 UNDP has been annually publishing an evidence-based and impartially grounded analytical report on human development with particular focus on the issues, trends and policies related to the growth of human development globally. There have, however, been some rare exceptions, for instance, for 2007 and 2008 there had been published one report title ‘Fighting Climate Change: Human Solidarity in a Divided World’, and in the year 2012 no report was published. The 2013 HDR, however, is tailored based on the 2012 HDI. In fact, 2013 Human Development Report is unique of its nature, which presents HDI values and ranks for 187 countries along with the Inequality-adjusted HDI for 132 countries, the Gender Inequality Index for 148 countries, and the Multidimensional Poverty Index for 104 countries.
Recently published Human Development Report 2013 title ‘The Rise of the South: Human Progress in a Diverse World’ focuses on the emerging issues of the South including the realities behind the rise of the southern countries, their adopted policies and management rules that would have impact on human development progress, and more importantly the impact of the rise to the global governance and leadership. According to the HDR 2013, more than 40 developing countries have done better than expected in human development in recent decades and some of them have remarkably been carried out the trend of steady progress in human development throughout the last decade. Among the countries, noteworthy are the names of Brazil, China, India, Indonesia, Mexico, South Africa, Turkey, Bangladesh, Chile, Ghana, Mauritius, Rwanda, Thailand and Tunisia.
Indeed the cumulative economic productivity of three southern countries (China, India and Brazil) is about to reach the collective gross domestic product of six northern economic forces (Canada, France, Germany, Italy, United Kingdom and the United States). Given the projections developed for this report, this trend is steadily growing in favor of the South. The report also identifies that each of the notable countries in human development progress in the South has its own history, identity, culture and strategies towards economic, social and human development. On one hand, these countries have achieved success in creating state regulatory and management system alongside the interconnected cooperation, whereas on the other, they have carefully as well strategically neglected the controversial Washington doctrine. Although some of the southern countries are still experiencing slow economic growth, the South-South cooperation in trade, investment, technological exchange and financing has been gradually benefiting them. Yet the southern countries are facing many of the same challenges which help them become more interconnected and interdependent. And they are increasingly demanding to be heard and to have spaces in the global governance, and seeking improved stakes, transparency and accountability in the global leadership and international institutions.
According to the HDR 2013 and UNDP, Bangladesh’s HDI value for 2012 is 0.515, which falls the country in the low human development category as usual. But the situation now here is better than ever before. The country ranks 146 out of 187 countries in HDI 2012, whereas it ranked 147 in HDI 2011. Between 1980 and 2012, Bangladesh’s life expectancy at birth increased by 14.0 years, mean years of schooling increased by 2.8 years, expected years of schooling increased by 3.7 years and GNI per capita increased by about 175 percent. Figure below shows the trends in Bangladesh’s HDI component indices since 1980:
It is also noted here that Bangladesh’s 2012 HDI of 0.515 is above the average of 0.466 for countries in the low human development group and below the average of 0.558 for countries in South Asia (Source: HDR 2013 and UNDP). Moreover, in the context of Indian Sub-continent, it can be seen from the report that Bangladesh and India have managed to keep a steady growth with the HDI over the span of three decades, whereas in the case of Pakistan inconsistency and fluctuations are strongly evident with the same. Despite the facts stated above, Bangladesh and Pakistan have jointly gained 146 ranking out of 187 countries in the 2012 HDI. Figure below shows Indian Sub-continent’s HDI trends within the last three decades:
Helen Clark, Administrator at UNDP, given the review of the HDR 2013 points out in the Foreword of the same that a key message contained in this and previous Human Development Reports is that economic growth alone does not automatically translate into human development progress. Pro-poor policies and significant investments in people’s capabilities — through a focus on education, nutrition and health, and employment skills — can expand access to decent work and provide for sustained progress. She also observes that the report identifies four specific areas of focus for sustaining development momentum: enhancing equity, including on the gender dimension; enabling greater voice and participation of citizens, including youth; confronting environmental pressures; and managing demographic change.
The report also analyses the contemporary global context and trends, and crafts a path for policymakers and global citizens towards increasing interconnectedness of the world. It also shows glimpse on how to face collectively the growing global challenges. Importantly, the report identifies the South needs the North, and increasingly North needs the South.
Finally, the report also focuses on a broader context that every individual should have the right to lead his life on his own norms. It is not fair on an individual to force lead a difficult life for being a citizen of a wrong mass population or country. Such kind of discrimination will limit or even impede the progress of human development.
At the end, the write-up recalls Amartya Sen’s kind contribution in the HDR 2013. Dr. Sen points out only the wearer may know where the shoe pinches, but pinch-avoiding arrangement can not be effectively undertaken without giving voice to the people and giving them extensive opportunities for public discussion. He opines that the dialogue responsibilities when properly appreciated across the lines of governance, must also include representing the interest of the people who are not here to express their concerns in their own voice. He also states that the human development approach is a major advance in the difficult exercise of understanding the success and deprivations of human lives, and in appreciating the importance of reflection and dialogue, and through that advancing fairness and justice in the world.

Fertiliser dealers demand an end to price mismatch

Farmers may face a setback in fertiliser distribution as Bangladesh Fertiliser Association yesterday said it would go for an indefinite strike if the government fails to meet its demands.
BFA, which commands over 5,000 authorised chemical fertiliser dealers, has long been demanding removal of the price disparity in urea delivered from mill gates and buffer warehouses. In addition, the association also wants the unauthorised distribution of fertiliser by the seed dealers to stop.
“If the government does not meet our demands in the next 15 days, we will have no option but to stop lifting of all kinds of fertilisers from factories, buffer godowns and other private entities and distributing those among farmers for an indefinite period of time,” said BFA Chairman Kamrul Ashraf Khan.
He was speaking at a press meet yesterday at the association’s office in Dhaka.
At present, dealers from 37 districts are hauling urea at Tk 735 per 50-kilogram sack from the buffer warehouses, while dealers in 27 other districts are doing the same at Tk 700 from the mill gates.
The government only has six fertiliser factories all over the country and none of them are in the 16 northern districts, the rice-rich region, he added.
Urea constitutes a major por-
tion of chemical fertilisers that farmers apply to rice—both in the rainy-season for Aman and dry-season
for Boro.

BSF picks up teenage boy

Indian Border Security Force (BSF) yesterday picked up a Bangladeshi teenage boy from Jamalpur border in Daulatpur upazila of the district.
The boy was identified as Ershad Ali, 15, son of Hamed Ali of the village.
A BSF team of Nasirapara camp in Murshidabad district of Paschimbanga picked up Ershad while he was mowing grass near the border.
Commander of BGB 32 battalion Lt Col Kazi Arman Hossain said a letter has been sent to BSF protesting the incident and demanding return of the boy.
world stop why? we bangali's are not human.why india doing this? we want no more bangali pick by bsf. beacuse we are free since 1971.

Power plants set for green light

The government is set to approve eight power plants to be built, owned and operated by the private sector, in a bid to tackle the country’s growing energy crisis.The plants, mostly coal-based, will be able to generate 2,706 megawatts (MW) of power.The proposals may be placed by the power division at today’s meeting of the cabinet committee on public purchase.The power division, on the basis of proposed tariff rates, has recommended awarding the work for two of the plants in Dhaka with generation capacity between 600 and 800MW to Orion Power and Associates. The company’s proposed tariff rate is Tk 6.69 per kilowatt (kW).The company has been recommended for another coal-based power plant of 100 to 300MW to be set up in Chittagong. Orion Power’s proposed tariff rate for the plant is Tk 6.72 per kW.The division recommended another power plant of 600 to 800MW capacity for Chittagong. It will be a joint venture of S Alam Steel Ltd, S Alam Super Edible Oil Ltd, S Alam Cement Ltd and HTG Development Group Co Ltd. The proposed tariff rate for the plant is Tk 6.60 a kW.Another plant with capacity of 100 to 300MW and tariff rate Tk 6.79 a kW was recommended for Barisal. The Power Division also recommended setting up another power plant at Barisal with capacity of 100 to 300MW and tariff rate of Tk 6.79 per kW.The other three power plants with total generation capacity of 200MW will be set up at Fenchuganj, Barisal and Narayanganj.

All eyes on Rooppur

A contract was signed in June for
drafting the documents for substantiating the investments into construction, assessing the impact on the environment, and conducting an engineering survey of Rooppur Nuclear Power Plant in Bangladesh. Moscow’s company Atomenergoproekt is responsible for the work.Nuclear.Ru: Which works are going to be performed by Atomenergoproekt within the scope of the Rooppur NPP Project in Bangladesh?
Marat Mustafin: Constructing the Rooppur NPP in Bangladesh, JSC Atomenergoproekt has actively been cooperating with JSC Atomstroyexport (ASE). First of all, our company is performing the project survey works on site. What makes the project unique is that the Rooppur site is the only one, proposed by the contracting authority to construct the NPP.Usually, several sites are suggested.In addition, the Rooppur site is rather complex. We received archived data on the survey, performed previously by a foreign company. Several tests showed the site’s geological state is quite complex. Certainly, that is a provisional implication and in order to make a conclusion, we need to start the field works and real surveying activities.The first processing of data will show us the preliminary results.However, we can already state that as the site is located close to the river Ganges, there is plenty of alluvial soil there. It is a very flexible and plastic compound with continental ground underneath.The initial geological survey is going to be of a universal nature. Then we will be able to adjust it to the specific project. First, we need to know what is underneath the ground.
Nuclear.Ru: Will the survey be performed for two power units?
Мustafin: Yes, the survey will be performed having two power units in mind. It might be that there will be a decision to construct one power unit. However, in economic terms, a survey for two units does not significantly increase the cost and there will be no need for extra works afterwards.Atomenergoproekt is soon going to sign a contract with the merged company JSC NIAEP-JSC Atomstroyexport to perform the pre-design works. The contract has already practically been prepared; the only thing left is to agree on small details.Nuclear.Ru: Russian State Nuclear Corporation JSC NIAEP-JSC ASE plans to sign the contract on preparing the technical project with Bangladesh. Will Atomenergoproekt also be responsible for implementing the project?
Мustafin: The technical project will be prepared by two companies. JSC Atomenergoproekt will design the ‘nuclear island’ and auxiliary buildings and structures, and JSC NIAEP will design the equipment premises, hydro-technical and some technical structures as well as power output structures. The share of work will be 56 percent and 44 percent.Nuclear.Ru: The third document, foreseen to be signed, is the contract for preparatory works to construct Rooppur NPP. Will Atomenergoproekt be able to perform those works?
Мustafin: That is quite a complicated issue, considering the climate peculiarities and other factors. In my opinion, it will be rather difficult to find contractors willing and able to work in such conditions. Bangladesh is not Turkey, where the climate is rather soft. Even in terms of ordinary construction works, the conditions in the region, where the Rooppur site is located, are very hard.We are talking about seasonal rain, extreme air temperatures, and continuous climatic changes. That means it will be difficult for the builders, who will most probably be foreign companies, to work there.Considering all these, Atomstroyexport will choose contractors for the different kinds of work with great care. As for us, we will perform the engineering survey on designing the ‘nuclear island’—the complex of buildings and structures of the reactor part.Atomenergoproekt, as a future engineering division of State Nuclear Energy Corporation Rosatom, would like to step up by using its own forces in constructing the ‘nuclear island’.