You’ve worked in many different forms of art, including acting, performance art, theatre, and voice modulation. You have also directed films and are adept at script writing. How do you juggle all of your creative hats?
“A Man for all Seasons” was my first play on Dhaka stage. Today, after almost 20 years of performance when I go through each and every pause and step, and modulate between the jumps, shifts, and juggles, I understand I was never an artiste who will stick to one medium. To answer your question: maybe I always seek to be able to express silences, rage, and the helplessness of an individual against socio-economic and political phenomenon.
As for, why I am doing what is important to me. I never felt I am juggling with any form. I am not a craft lover. Rather I always look for a medium of the times. But I always say that somehow art has chosen me. Because whatever I do today was formed by whatever I have tried since my childhood.
Around the world, performance artists are creating powerful pieces that visualize both current and forgotten issues. How do you evaluate the scope of performance arts for social transformation in Bangladesh?
I guess conscience is something that automatically brings art forms close. An artists' work is not always for instant change. It’s rather a form of knowledge to bring changes in thoughts, conscience, and understanding in society. I will say art is a bridge between ideas and thoughts; because true art and knowledge and passion has the ability to show a direction, or path.
Performance art is comparatively a very new medium in Bangladesh. The greatest power of this form is its freedom. That’s where the beauty of this form lies. I am interested in this art form as it offers me freedom from forms, stylization and influences, and also legacy. If I talk about freedom of speech, a performance art can be one of the strongest art mediums.
What are the underlying statements that you wanted to deliver through the “Harano Shur (Lost Tune)?" Do you think it’s a political work?
I think the performance was made to make a statement about being a minority. Talal Asad said, it is about how traditions fight to flourish in countries like Bangladesh in the rise of modernity.
“Harano Sur” was made during a difficult time in 2015. I don’t think our generation ever felt as shaken about our ideas, thoughts and beliefs of equality, openness and diversity as we have felt in recent years... Now we are so segregated that we are all floating apart.
How does your work reflect your philosophy of life and society?
Most of my work are socially engaged. I think I am always motivated by social and political changes or the way my rights as a free person are violated. I am more of an artist of conscience. I am working on the power a state can play on an individual’s thoughts. I am working on how different opinions can be stampeded. I am not an activist but I think my philosophy of life is to be passionate about the truth.
What are you currently busy with? Any future plans?
I just got back from a long performance of 22 days. I performed eight hours every day at the Bangkok Art Biennial as part of the Marina Abramovich Institute. The film we made from the performance of “Harano Sur” at Dhaka Art Summit ’18, is now officially selected for the Ammodo Tiger short competition at the 48th International Film Festival of Rotterdam. The film will be in other international film festivals and exhibitions in this year.
My new performance “Orbit” is about how we surrender to our “lovable seriousness.” How a beautiful silence can be made out of fear. Sometimes it feels unbelievable that all over the world we are fighting the same fight for humanitarian rights or fundamental causes… We should talk about what we think is right. We should discuss about what shouldn’t be done. We should express worries about the way our fate is being made. Our arts are beautiful vehicles to carry us.