Syed Jamil Ahmed
Ahmed in 2009
NationalityBangladeshi
Alma materNational School of Drama
University of Warwick
OccupationAcademic

Syed Jamil Ahmed is a Bangladeshi scholar, theatre director, and founding chair of the Department of Theatre and Music at the University of Dhaka.[1][2] His most notable theatre productions include Kamala Ranir Sagar Dighi (1997), Ek Hazar Aur Ek Thi Rate (1998), Behular Bhasan (2004), Pahiye (2006) and Shong Bhong Chong (2009).[1] He won Nandikar National Theatre Award of Calcutta and the B.V. Karanth Award of India's National School of Drama (NSD).[1]

Early life and education

Ahmed joined the Liberation War in 1971 as a freedom fighter.[3] The violence of the war impacted him, "having seen dead bodies rotting with gaping holes and the charred remains of abandoned homes, [for] having walked the streets of Dhaka city, clasping the clip of an unpinned grenade in [his] trousers pocket."[4] Ahmed came in touch with an amateur theatre group named Dhaka Theatre in 1974 and began to consider theatre as a career.[3] In 1975, Ahmed received a scholarship from the Indian Council for Cultural Relations (ICCR), and dropped out of English Literature BA (Hons) programme at the University of Dhaka to join the National School of Drama in New Delhi.[3] Here, from 1975 to 1978, he studied for three years and worked as an apprentice fellow for another year, under Ebrahim Alkazi and B. V. Karanth. Alkazi guided him through ‘Western’ theatre, and Karanth through traditional theatre of South Asia.[5] He received his Diploma in Dramatic Arts with distinction from the National School of Drama in 1978. In 1989, he received his Master of Arts degree in theatre from University of Warwick.[1] "Indigenous theatrical forms" was the subject of his thesis, which earned him a PhD degree from the University of Dhaka.[1]

Stage design and applied theatre

After his return from the National School of Drama to Bangladesh in 1979, Ahmed began working as a stage and light designer, achieving critical acclaim for plays such as Achalayantan (the Immovable), Raktakarabi (Red Oleanders) and Chitrangada by Rabindranath Tagore in Calcutta, India.[6] He was part of the shift from the painted scene design of the 1970s to the realist, symbolic and surrealist design in the 1980s.[7] He was awarded the Munir Chowdhury Samman in 1993 for his influence in the realist design. After eight years of free-lance theatre practice, Ahmed studied under Clive Barker at the University of Warwick in England, in 1987–88. Barker introduced him to Theatre-for-Development (Applied Theatre today) and in Latin America and Africa.[8]: xvi  Upon his return home, he engaged with a left-leaning landless farmers’ political party, and then with international and national Non-Governmental Organizations working in Bangladesh. In 1992, he was elected to the Ashoka Fellowship by the Ashoka Foundation (USA). By 1995, he was disillusioned on all applied theatre fronts.[8]: 16, 19 [9]

Teaching, directing, and writing

Ahmed joined the University of Dhaka in 1989 and later founded the Department of Theatre and Music in 1994. He built a performance-oriented pedagogy, which led to its recognition as a major centre of experimental and innovative productions.[10] His major contribution to the pedagogy of the department, now grown into the Department of Theatre and Performance Studies, has been the introduction of Theatre-for-Development, Theatre-in-Education, Performance Studies, Sociology of Theatre, and Psychoanalysis in Theatre. His academic work led him to be awarded Fulbright Fellowship twice. The first time, in 1990, his award took him to the Antioch College, Yellow Springs (Ohio, USA), as a scholar-in-residence, where he taught and directed (with Denny Patridge), The Wheel, an English translation of Salim Al Deen's Chaka. The second award took him to the San Francisco City College (California, USA) in 2005, as a Visiting Specialist under the programme ‘Direct Access to the Muslim World’.[11] In 1992, he wrote a six-hour epic tragedy based on Karbala legend and Mir Mosharraf Hossian's novel of the legend.[12]

From 1993 to 1997, he embarked on "voyages" to distant rural pockets of Bangladesh and attended numerous performances of the indigenous theatre in situ.[13] He was awarded PhD by the University of Dhaka in 1997 for his thesis on "Indigenous Theatrical Performance in Bangladesh: Its History and Practice". Part of his PhD research was published as Achinpākhi Infinity: Indigenous Theatre of Bangladesh.[14] Kamala Ranir Sagar Dighi (based on the indigenous form of narrative performance Pala Gan) in 1997 in Dhaka, Ek Hazar Aur Ek Thi Rate (based on The Thousand and One Nights) in 1998 in Karachi, Behular Bhasan (an adaptation of the Padma Puran) 2004 in Dhaka, Pahiye (Hindi translation of Chaka) at the National School of Drama in New Delhi in 2006, and Shong Bhong Chong (based on the indigenous theatre form of Shong Jatra), in Dhaka in 2009 all were influenced by his time in rural Bangladesh. They contributed to him winning the Nandikar National Theatre Award, in Calcutta, in 1999. Behular Bhasan participated in Bharat Rang Mahotav, New Delhi, 2006, and Leela: South Asian Women's Theatre Festival, Kolkata and New Delhi, 2010. [15][16]

Research and productions

[17][18][19]

Published works

Books

  • Hajar Bachhar: Bangladesher Natak O Natyakala, Bangladesh Shilpakala Academy, Dhaka, 1995.
  • Acinpakhi Infinity: Indigenous Theatre of Bangladesh, University Press Limited, Dhaka, 2000.
  • Acinpakhi Infinity: Indigenous Theatre of Bangladesh, University Press Limited, Dhaka, 2000.
  • Trtiya Bishwer Bikalpa Natyadhara: Unnayan Natya: Tattwa O Prayog, Shamabesh, Dhaka, 2001.
  • In Praise of Niranjan: Islam, Theatre and Bangladesh, Pathak Samabesh, Dhaka, 2001.
  • Reading Against the Orientalist Grain, Anderson Printing House, Kolkata, 2008.
  • Applied Theatricks: Essays in Refusal, Anderson Printing House, Kolkata, 2013.

References

  1. 1 2 3 4 5 "The World of Syed Jamil Ahmed". The Daily Star. 16 September 2017. Retrieved 15 July 2018.
  2. ↑ Geoffrey Samuel, "Review of Reading Against the Orientalist Grain: Performance and Politics Entwined with a Buddhist Stain." Religions of South Asia 6.1 (2012), p. 138. Retrieved from 15 July 2014.
  3. 1 2 3 "Jamil Ahmed". Everyone a Changemaker. Retrieved 15 July 2018.
  4. ↑ Syed Jamil Ahmed, "Negotiating ‘theatre (in place/instead) of war’", Research in Drama Education 11.1, 2006, p. 59.
  5. ↑ বহু দিন পরে মঞ্চ আলোয় [Back in theatre after long time]. Prothom Alo (in Bengali). 19 July 2012. Retrieved 15 July 2018.
  6. ↑ Syed Jamil Ahmed, Who's Who in Contemporary World Theatre (ed. Daniel Meyer-Dinkgrafe), London: Routledge: 2000, p. 5. Baidyanath Mukhopadhyay, Samsad Bangla Natya Abhidhan [Samsad Dictionary of Bengali Theatre], Kolkata: Shishu Sahitya Samsad, 2000, p. 411.
  7. ↑ Kabir Chowdhury, "Bangladesh", The World Encyclopedia of Contemporary Theatre, Volume 5, Asia-Pacific (ed. Don Rubin), p. 110.
  8. 1 2 Syed Jamil Ahmed, Applied Theatricks: Essays in Refusal, Kolkata: Anderson, 2013
  9. ↑ Syed Jamil Ahmed (2002). "Wishing for a World without 'Theatre for Development': demystifying the case of Bangladesh". Research in Drama Education. 7 (2): 207. doi:10.1080/1356978022000007983. S2CID 144638983.
  10. ↑ Saymon Zakaria, "Bangladesh", The World of Theatre: 2011 Edition, Dhaka: International Theatre Institute, 2011, p. 26.
  11. ↑ শিল্প ও শিল্পী » সুদীপের চাকা একটা ঘোরে ফেলে দিয়েছে. www.shilpaoshilpi.com (in Bengali). Retrieved 15 July 2018.
  12. ↑ Meghna Guhathakurta, "The Representation and Characterization of Women in Contemporary Theatre: The Case of Bishad Sindhu," Infinite Variety: Women and Society and Literature (Firdous Azim and Niaz Zaman eds.), Dhake: University Press Ltd, 1994, p, 289.
  13. ↑ Syed Jamil Ahmed, Acinpakhi Infinity: Indigenous Theatre of Bangladesh, Dhaka: University Press Ltd, 2000, p. xv.
  14. ↑ Clive Barker (May 2003). "Review of In Praise of Niranjan: Islam Theatre and Bangladesh". The New Theatre Quarterly. 19 (2): 198. doi:10.1017/S0266464X0327010X. S2CID 194072752.
  15. ↑ Bajeli, Diwan Singh (25 March 2010). "A Dhaka delight". The Hindu. ISSN 0971-751X. Retrieved 15 July 2018.
  16. ↑ "Scenes from the neighbourhood". The Telegraph (Opinion). Calcutta. Archived from the original on 15 April 2015. Retrieved 15 July 2018.
  17. ↑ "Le Bangladesh, scenes melees", La Scene et la Terre: Questions d’Ethnoscenologie, Babel, Maison des Culture du Monde, Paris, 1996. "Fremforingsteknikker I det etniske teatret I Bangladesh", Spillerom, Norsk Dukketeater Akademi, 1/1995. "Decolonized Roots and Postcolonial Wings: The Minoritarian Theatrescape of Rabindranath Tagore" [in English and Korean], Asia: Magazine of Asian Literature, 29: 261-306 (Spring 2013). "If/After the ‘Lamp of the East’ Has Been Lighted Again, Whither Rabindranath’s Iimaginary of Asia and Orient?", Barima Literary Magazine, No. 2, 215-234 (in Korean), 235-254 (in English). Zai "Xiangzheng" he "Daibiao" de Jiaojiemian, in Zhang Boyu (ed.) Music Cultures around Himalaya (In Chinese: Huan Xima Laya Yinyue Wenhua Yanjiu). Beijing: Central Conservatory of Music Press, 2015.
  18. ↑ Bajeli, Diwan Singh; Bajeli, Diwan Singh (12 November 2010). "Guilt-edged mantle". The Hindu. ISSN 0971-751X. Retrieved 15 July 2018.
  19. ↑ "Guaranteed to stimulate spectators". The Telegraph. Archived from the original on 4 March 2016. Retrieved 15 July 2018.
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