Sarah Nafisa Shahid | The Daily Star
  • Sarah Nafisa Shahid

  • Will the white man ever stop trying to “save” us?

    A few days ago, I came across a viral video by Mikko Foundation, an organisation run by a brother-sister duo from Seattle with a “burning desire to give back to community.” The video showed the founder, who is white, trying to persuade locals in Gulshan neighbourhood to wear t-shirts designed by the organisation, supposedly as a humanitarian gesture of giving back to a struggling community.
  • What do public sculptures speak of?

    In the May of 2017, the statue of a saree-clad, blind-folded Lady Justice was pulled down from the Supreme Court premises and moved to an annex building due to pressure from the religious group, Hefazat-e-Islam. The incident brought to notice various issues and highlighted the active role public art plays in national discourse. It is of importance, then, to understand how this role comes into being.
  • Love and Loss in Giasuddin Selim's “Swapnajaal”

    Giasuddin Selim's comeback movie stars Porimoni and newcomer Yash Rohan as love-struck teenagers Shuvra and Apu respectively. The story is set in Chandpur in the 90s and follows the lovers' relationship through various trials. But within its layers, larger themes lay afloat, waiting to be addressed but never completely getting its due.
  • The illustrious life of Satyajit Ray

    Satyajit Ray started as a graphic illustrator before his emergence as a Bengali film icon. He designed book covers, film posters and illustrated children's books among other things and even created two award winning Bangla fonts. What is profound in his work is the sophisticated experimentation with various artistic styles and traditions, both local and foreign, without compromising an aesthetic of authenticity. His forays into graphic design and calligraphy continued throughout his career and often webbed strongly into his filmmaking. Satyajit Ray was indeed a master of visual art in its broadest terms.
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