Ingebjørg Støfring

May 23, 2007 marks the 101st anniversary of the death of Henrik Ibsen. It gives me great pleasure to be present at this function to observe this occasion in Bangladesh. Last year the 100th anniversary for his death was commemorated all over the world with more than four thousand performances in 72 countries. And I am proud to say that the commemoration programme in Bangladesh was one of the most comprehensive ones. So thank you very much all Bangladeshis and Bangladesh!
   Since 2007 marks the centenary of the death of one of Norway’s finest composers of all times, Edvard Grieg, I have been asked to say a few words on the connection between Ibsen and Grieg.
   Ibsen wrote about individual freedom, personal and public morality, equality and freedom of expression, political power, corruption and the interface between the local and the global.
   Grieg was also a strong defender of freedom, democracy and justice, both in his attitude and his actions. He strongly believed that artists play a key role in the fight against discrimination and exclusion.
   Ibsen and Grieg met for the first time during Christmas celebrations of the Scandinavian Society in Rome in 1865. Grieg was 22 years old and Ibsen 37. Grieg noted in his diary that Ibsen delivered a speech, and that the playwright had allowed himself plenty of intoxicating drinks on the occasion.
   By that time, Ibsen had just completed Brand and was already at work on ‘Peer Gynt’. Ibsen’s achievements had given him a firm reputation. Grieg was glad to have Ibsen’s support for an application to the author (also a Nobel laureate) Bjørnstjerne Bjørnson, in the hope of obtaining an appointment as conductor at the Christiania theatre were Bjørnson was then Director. Apparently, Bjørnson’s reply was delayed, and Ibsen wrote kindly to the anxious young musician (August 1866) ‘Whatever the outcome may be, you have no right to say that your whole future depends on it. No, my dear Grieg, your future is something greater and better than a Kapellmeister’s post.”
   Ibsen wrote the following lines in the composer’s album in March 1866 (here translated to English):
   Orpheus with his wondrous tones
   Roused souls in beasts, struck fire from stones.
   Of stones has Norway of a few;
   And beasts she has in plenty too.
   Play then, that sparks from rocks may leap!
   Play then, and pierce the brutes’ hides deep!
   Two and a half year later, Grieg composed music to Ibsen’s lyrics for the first time; “Margaret’s Cradle Song” from Kongsemnerne (The Pretenders). The music is a pearl among Grieg’s works. He was probably inspired by the recent birth of his only child Alexandra.
   Peer Gynt was completed as a dramatic poem in 1867. Later, Ibsen started arranging it for the stage. In 1874, Edvard Grieg received a letter from Ibsen: “I am writing to ask if you would cooperate with me in a certain project. A third edition of Peer Gynt is to appear shortly, and I intend to arrange it for stage performances. Will you compose the music required for this?” In the letter Ibsen outlines specifications for the music. Ibsen is not known to have had special musical talents, but these specifications shows his understanding of how music as an integrated part of the drama, can heighten the overall quality of literary art. Grieg followed Ibsen’s guidelines to a large extent.
   Ibsen must have felt sure that Grieg would agree, or he would hardly have gone into so much detail. Grieg, however, had many doubts about the undertaking of a project with so many difficulties. But he finally agreed. Four months into the work he was complaining that “Peer Gynt is the most unmusical of all subjects. It hangs over me like a nightmare…” He spent more than a year to complete the work.
   Peer Gynt, with Grieg’s music, was first performed in Oslo in February 1876. It was an immediate success and was performed 25 times before the summer, and 11 times the following year. Since then the name of Peer Gynt has been closely linked with Edvard Grieg’s music.
   Grieg and Ibsen never had a close personal relation. But when Grieg received the news of Ibsen’s death, he wrote in his diary:
   “Received word of Ibsen’s death. Although I was prepared for it, the news came as a blow. How much I owe him! Poor, great Ibsen! He was not a happy man, for it is as if he carried within him a chunk of ice that would not melt. But under his chunk of ice lay a fervent love of mankind.”
   I am very pleased that Grieg’s music has been introduced in Dhaka this year. Norwegian musicians Unni Løvlid and Joachim Kjelsaas Kwetzinsky played some of his works in the British Council a few days back, and in part of the concert they performed together with some very good Bangladeshi musicians and actors. Both the audience and the musicians were very pleased with the performance, and it may have opened doors for new inspiration and artistic bonds.
   I hope the good work with Henrik Ibsen in Bangladesh will continue and that also the people of this country will have the opportunity to get to know the works of Edvard Grieg better.
   This article is based on a speech delivered by Norwegian Ambassador to Bangladesh Ingebjørg Støfring at the Ibsen Evening at Alliance Française de Dacca marking the 101 death anniversary of Henrik Ibsen on 23 May 2007.

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Cultural Correspondent

Top singer of ganasangeet in Bangladesh, Fakir Alamgir’s latest music album titled ‘Bhalobasi Dhaka’ was launched at the auditorium of Bangladesh Shishu Academy on Tuesday.
   Professor Kabir Chowdhury was present as chief guest while historian Professor Muntasir Mamun, Sammilita Sangskritik Jote’s secretary general Golam Kuddus, chairman of Laser Vision Arifur Rahman, woman entrepreneur Kona Reza and the singer Fakir Alamgir spoke at the ceremony, among others.
   Noted theatre activist Ramendu Majumdar chaired the function. Kabir Chowdhury said that Dhaka has a long history of political movements.
   The city was also considered an important cultural hub in the Indian subcontinent.
   ‘I had visited almost all the major cities in the west but I fall in love with Dhaka city.
   The tradition of Dhaka always attracts me. Fakir Alamgir has upheld the history and tradition of the city through his songs in this album,’ he added.
   Professor Muntasir Mamun said that the singers of ganasangeet have been playing important role in awakening the people about their rights.
   ‘Movements and victories over exploitation are the result of ganasangeet.
   Fakir Alamgir is upholding the tradition of ganasangeet in Bangladesh,’ he said.
   He further said that Dhaka has the tradition of both music and movements and Alamgir’s songs have presented both the traditions.
   Golam Kuddus said that Fakir Alamgir has been inspiring the people for long years. ‘His songs are the expressions of the weal and woe of the dwellers of Dhaka,’ he added.
   The launching ceremony was followed by a solo concert of Fakir Alamgir.
   The singer sang some of his popular songs from the album.
   The programme, anchored by the artiste of recitation Hasan Arif. was dedicated to the memories of legendary signer Abdul Latif.
   The music album, produced by Laser Vision, includes twelve songs such as ‘Ekhane sakal theke jhare koto gham’; ‘Kokhono thake na theme ekhane jibon’; ‘Bhat chhitale kaker nai abhab’; ‘Ahare kallu matabbar’ and other songs.
   The album also includes three poems, composed by Shamsur Rahman, Hafizuddin Ahmed and Lutfar Rahman Ritan and recited by Ramendu Majumdar, Mahidul Islam and Hasan Arif.

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Ata Sarkar’s perceptive novels extolled

A novelist writing since the seventies, Ataur Rahman Sarker has explored the complexities and intricacies of life in his novels. A considerable crop of his novels was launched last week. Ata Sarker made his mark as an insightful creative writer of fictions. He is a socially conscious author and has a good measure of grasp of societal tribulations we come across everyday. Moral issues dominate some of his pieces. He sees the world from various angles and writes what he believes and observes. One may say, there is preoccupation with moods and emotions.
   A discussion meeting on “Upanyas Samogra” of eminent novelist Ata Sarkar was organised by Alokito Nagari (enlightened city) on 26 May at VIP Lounge of National Press Club, says a press release. Presided over by eminent educationist Professor Dr. Anisuzzaman, the keynote speech was delivered by Dr. M. Moniruzzaman. Among the discussants were poet Balel Chowdhury; researcher Abdul Mannan Syed; Professor Jahanara Nowsin; dramatist Dr. Selim Al Din; Dr. Khalikuzzaman Elias, Chairman, Department of English, North-South University; Dr. Syed Mohammad Shahed, Director General of Bangla Academy; Dr. Biswajit Ghose, Professor, Department of Bangla, University of Dhaka;Dr. Sardar Abdus Sattar, Principal, Narayanganj Women’s College; Mahbubul Alam Ghora; Shamim Reja; Aminur Rahman Rana; and S. M. Rejaul Karim of Globe Library. Novelist Ata Sarker also delivered his speech expressing his feelings.
   The discussants evaluated Ata Sarkar as a powerful novelist of today. They said that his vision about the world and life is profound. His portrayal of the downtrodden is notable.
   A time-conscious writer, Ata can be recognised distinctively from the identity we get in his selection of subjects, distinct quality and originality in the presentation of language. His descriptive prose has a persuasive power.

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Tête-à-tête with painter Mohibul Islam

Born in 1967, in Mymensingh, Mohibul Islam, a Bangladeshi expatriate in Canada, is making preparation to arrange a solo art exhibition in Toronto on the occasion of Canada Day on July 1. The visiting artist recently talked to Robab Rosan about his artworks

Would you tell something about your upcoming exhibition?
   Yes, I am taking preparation to arrange an art exhibition in Toronto to mark Canada Day. I will display some of my experimental works, including, images of print on canvas. Through these images I will uphold the spirit of some of Bangladesh’s socio-political movements starting from Tebhaga Movement. The struggling people of Bangladesh will also be presented symbolically.
   How do you think that the images of these movements will be accepted by the Canadian art connoisseurs?
   The Canadian artists also present different social issues in their artworks. They also respond to the humanitarian issues across the world. In my works, I will present the humanitarian aspects of the socio-political movements. As an artist, I feel the pathos of people of the world. I think the Canadian art-connoisseurs will feel an affinity with my artworks.
   As an artist to what do you react most?
   I always work against superstitions. I want to create an awareness among the people against all sorts of superstitions and against all sorts of social ills. In my artworks I promote human attributes and speak against anarchy, addictions and abuses through symbols. People’s hope and aspiration also come on my canvas.
   On the other hand, I want to mention Bangladesh’s most glorious event, the War of Independence. I am very much influenced by the war. During the war, my mother, Kohinur Begum, saved me dramatically and I cannot forget the incident. I want to mention my mother’s contribution in my life. She also encouraged me to be an artist.
   In what way are you contributing to your country?
   As I want to work for building a better Bangladesh, I have many plans related to this. At present, I am running a school called Nandanik Fine Arts and Crafts Centre both in Dhaka and Toronto aiming to nourish children’s mental health through arts.

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Imperial Entanglement and Literature in English launched Cultural Correspondent

The publication ceremony of an anthology of literary essays ‘Imperial Entanglement and Literature in English’ written by Fakrul Alam was held at the Bengal Gallery in Dhanmandi, Dhaka on Saturday.
   While speaking on the book, Serajul Islam Choudhury said one could find two qualities – uncompromising stand in
   own point of view and belief in collective progress – in this book.
   Professor of English at the Dhaka University Syed Manzoorul Islam said Fakrul learnt from Edward Said how to look at one’s own culture.
   Professor Niaz Zaman and Professor Kaiser Haq from the University of Dhaka, Radha Chakravarty from Gargi College under University of Delhi, among others, discussed on the book.
   Professor Serajul Islam Chowdhury presided over the function.
   The writers.ink has published the 400-page book. The price of it is Tk. 600.

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