International Disability Art Festival 2024: The art of ability
Under British Council’s Project Dare and Dhaka Theatre, the ‘International Disability Art Festival 2024’ displays inclusivity in artistic expressions, celebrating differently abled artists across the globe
Imagine a world made of a fabric that fit everyone, where each individual could express their dormant creativity to the fullest, no matter how unique they are. While the reality is different, walking into an exhibition curated for differently abled individuals felt like taking a step closer to seeing a world where everyone lives and expresses themselves in harmony.
From 26 to 27 April, Bangladesh Shilpakala Academy played host to the International Disability Art Festival. Launched under the banner of Dhaka Theatre alongside the British Council's Project Dare—a venture dedicated to reshaping the perception of empowerment through disability arts—the festival was a celebration not of limitations or abilities, but of the extraordinary human spirit.
Dhaka Theatre started the journey in 2012 and British Council joined the movement in 2013.
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While the world often busies itself with drawing lines between the normal and the abnormal, this festival marked a decade of embracing and showcasing disability arts from Bangladesh, India, Nepal, and the United Kingdom.
When voices paint the world
As visitors entered the 'Odommo Shilpotshob' exhibition, they were greeted by a striking life-size cutout of Ludwig Van Beethoven, the world-famous deaf musician, seated at a grand piano. This display paid tribute to a historical figure who left a profound mark on the world despite his disability.
One of the first artworks to catch the eye was by Nargis Poly. Her piece, 'Unalloyed Patriotism I', transformed the powerful words of Bangabandhu Sheikh Mujibur Rahman's declaration on 7 March, 1971, into braille, making this pivotal moment in history accessible to the visually impaired.
Nargis Poly challenges the term "disabled," preferring "differently abled," and questions why society views individuals with disabilities as burdens when everyone is born with unique talents.
Her work not only highlights historical moments but also serves as a poignant call for greater accessibility and inclusiveness in our cities for people with disabilities.
There was also a photo of British performance artist Sue Austin from the 2012 Cultural Olympiad and her underwater performances, demonstrating that her wheelchair does not limit her abilities.
Tribeni reimagined
The festival featured ten theatrical performances and four movie screenings, but Quazi Nawshaba Ahmed's 'Tribeni' was a standout. This musical puppet show was lively and unique, turning the stage into a reflection of a young, impaired girl's inner thoughts and feelings.
'Tribeni' was a new take on Rabindranath Tagore's 'Raktakarabi', filled with bright colours, elegant movements, moving music, and themes of coming together, finding oneself, and fighting for freedom.
As the theatre lights went down, the audience felt the young girl's strong will as she began her quest for her destiny. During tough times, her bravery shined even brighter, bringing hope to those around her who felt lost. Her journey to overcome her fears and gain freedom deeply moved everyone watching.
The play ended leaving the audience filled with hope and a sense of acceptance. 'Tribeni' served as a powerful reminder that even in the darkest times, the strength of the human spirit can discover a glimmer of light.
'71 in Silence: Contours of Liberation
Directed by Ramesh Meyyappan, '71 in Silence' or 'Noishobde Ekattor' is a non-verbal play that tells the story of Bangladesh's origin. It explores the time before the war, the onset of the conflict, and its aftermath, all without using spoken words. Instead, 15 sign language artists used physical storytelling techniques to narrate the events on stage.
This play shows that storytelling through body movements can be a powerful and imaginative way to communicate a story to an audience. '71 in Silence' featured no spoken dialogue; instead, artists with various disabilities, including those who are deaf, mute, or visually impaired, conveyed the story through body language.
Meyyappan was inspired to create this innovative play after learning the sign language name for Bangladesh. His fascination with Bangladesh's history and the Liberation War drove him to tell this story using physical expressions. The production brought a new dimension to Bangladesh's theatre scene and marked a step toward a more inclusive society.
The film screenings further included a short film named, 'Aalo Amar Alo' by Shuvashish Sinha, which depicts how people living with disabilities struggle for rights.
'Name Me Lawand' by Edward Lovelace is a British film, highly recognised by the British Film Institute, where Lawland, who is deaf, struggles adjusting to a new life and finding friendship.
Sourodeep Dasgupta, the festival's co-director and the British Council's Arts program manager, spoke about a stark issue— Bangladesh having minimal funding for disability support, and almost no funding at all for differently abled artists.
Dasgupta emphasised the need for change, saying, "We want to concentrate on and unlock the incredible potential within the disabled arts and performance community through more investment."
The festival also included a vibrant outdoor marketplace where various disability and development organisations showcased their impactful initiatives. Notable participants included UNDP, Sporsho Foundation, Barishal Autistic and Buddhi Protibondhi School, Visual Communication LTD, Centre for the Rehabilitation of the Paralysed (CRP), PFDR-Vocational Training Centre Trust, and others.
A standout booth was 'Jotner Dokan,' an economic inclusion project by 'Connecting Disorders,' which featured and sold products made by people with disabilities, promoting their empowerment within the community. Iftekhar Ahmed, the associate officer of Jotner Dokan, highlighted a significant issue, saying, "People with disabilities are often neglected and marginalised. From an economic viewpoint, financial independence is crucial to erasing the stigma that they are burdens, as it empowers them to be self-reliant contributors."
