Clarion call of 7 March reimagined through collaborative artwork at Dhanmondi 32
Different pieces of the artwork have been stitched with fine-tuned typography for the viewer to explore and learn
Young artists blended their creative endeavours into digital artwork "The Fearless Call," reimagining the directives of Father of the Nation Bangabandhu Sheikh Mujibur Rahman's historic speech of 7 March, 1971.
In the digital mural mashup, organised by the Centre for Research and Information and its youth secretariat Young Bangla, the artists explored what ignited a nation to fight for independence.
People converging in front of the Dhanmondi 32 residence of Bangabandhu travelled back to the glorious chapters of history.
His residence is the breeding ground for political turnarounds, including the hoisting of the red and green flag to the 1971-arrest of Bangabandhu by the Pakistani occupation force to the 1975-assassination of his family.
The collaborative artwork depicts Bangabandhu's contextualisation of oppression that would justify an independence movement. It explores the directives of how an independence movement would play out for the colonised nation.
Different pieces of the artwork have been stitched with fine-tuned typography for the viewer to explore and learn.
Themes depicting Bangabandhu's charisma, 23 years of colonial subjugation, shocking incidents of bloodshed, call for an economic boycott and a clarion call for freedom, all have been mashed up into one collaborative piece.
The dynamic artists behind "The Fearless Call" are Reesham Shahab Tirtho, Saiyad Saif Ali, Sushmita Das Dewan, Ishrat Jahan Shaeera, Faiaz Rafid, Ahsana Angona, and Md Mojjammil E Hamid.
As the Joy Bangla Concert paying a tribute to Bangabandhu's 7 March speech was halted for two years in a row due to the Covid-19 pandemic, this artwork worked as its alternative in relaying history by creative means.
Appreciating the artwork in the digital sphere, Professor Nisar Hossain of the Department of Drawing and Painting, Dhaka University, recalled the pioneering role of artists in reinstating the ideology of Bangabandhu in post-1975 Bangladesh.
He also recommended organising the artwork to a bigger extent in the coming years.
Lawmakers Nahim Razzaq, Nahid Izhar Khan; Mohammad Hossain, director general of the Power Cell, and Dr Mamun Al Mahtab, former chairman of hepatology department of the Bangabandhu Sheikh Mujib Medical University, also spoke.
