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“As a woman Freedom Fighter I feel proud, all women cannot do what I did; I was not just a housewife or passing my time in India as a refugee. I was fighting for my country.” -Rounak Mohal Dilruba Begum Rounak Mohl Diliuba Begum, pictured here in the sitting room of her home in Bogra, recruited, organized, and helped train six groups of young men to fight in Bangladesh's Liberation War of 1971. Raised by her mother after her father passed away when she was 6, Rounak was the only one of the family's four daughters for whom they could not secure a marriage. When asked if she faced any difficulty in Bangladeshi society because she was a single woman, she smiled and said, "I move rough and tumble. No one can stop me." Bogra, Bangladesh. June 2011.

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Battlefield between West Pakistani and guerrilla forces. Kushtia, Bangladesh. March 2011.

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Battlefield between West Pakistani and guerrilla forces. Kushtia, Bangladesh. March 2011.

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“I went to the Bangladeshi fighters’ training camp at the start of the war, but they didn’t want to let any women fight. But I kept asking, ‘What can I do? Where can I go? Where can I work? I didn’t come to sit in a camp, I came to fight!’” -Gita Kar Gita Kar, pictured here in her sitting room, served together for the nine months of the Liberation War. Savar, Bangladesh. June 2011.

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Reenactment of 25 March 1971 massacre at Dhaka University. On the evening of 25 March each year, Dhaka University students reenact the massacre that occurred that night in 1971, perpetrated by the Pakistani army against the university's faculty and student body. The attack was the first phase of Operation Searchlight, a sneak ambush on the residents of then-East Pakistani that marked the start of the nine-month long war. Survivors recount stories rounds of bullets fired throughout the night, and day breaking with the sight of hundreds of dead bodies littering the campus grounds. The yearly memorial starts with a service at the Shahid Minar, the language martyr's memorial, which is constructed to honor the seven men who died during the Language Movement of 1952. Bangladesh, then-East Pakistan, protested the proclamation by Muhammad Ali Jinnah that Urdu would be the sole state language of Pakistan, one that disregarded the fact that more than half of the country's population spoke Bangla as their primary language. The protests were widespread and resulted in the naming of Bangla as one of Pakistan's state languages. Many cite the Language Movement as the start of the larger movement for Bangladesh's independence. Dhaka University, Dhaka, Bangladesh. 25 March 2011.

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Rabeya Khatun fought alongside her husband and son in the Liberation War of 1971. During the nine months of conflict between March 25, 1971 and December 16, 1971, Ms. Khatun lost her husband in battle and watched as soldiers killed her son during a raid on their home. She now lives alone with a hired help in Barisal, and has received no recognition or compensation for her service from the state. Barisal, Bangladesh. April 2011.

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A dog rests on the ground at a village home. Norshingdi, Bangladesh. April 2011.

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“During the war, I used to hide weapons underneath my saree and bring them to the Freedom Fighters. I would sometimes have to bury them in the middle of the night to hide them from the West Pakistani army.” -Begum Gulferdous Begum Gulferdous, pictured here with her granddaughter in her home in Comilla, Bangladesh. August 2011.

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Murals depict scenes from the Liberation War on the walls of a movie theater in Sirajganj city. Sirajganj, Bangladesh. June 2011.

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“I sang for the soliders. Before they would take the field for battle, me and the others girls would gather together and sing to them songs of freedom. Then they would go and fight for our liberation.” -Dalia Nausheen Dalia Nausheen, pictured here in the home of her close friend Shaheen Samad, was a part of the singing troupe (along with Samad) who traveled around to Freedom Fighter and refugee camps in India, singing songs of freedom, or muktir gaan, for the women and men training for the war, providing medical and logistical support, and sheltering themselves and their families. Dhaka, Bangladesh. May 2011.

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Road captured by Bangladeshi guerrilla forces. Comilla, Bangladesh. August 2011.

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“Both of my sons and my husband went off to fight during the war. One of my sons never came back. But I am proud. I am proud to be a war mother and a war wife.” -Ameya Katam Ameya Katam pictured in her kitchen. Bogra, Bangladesh. June 2011.

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Battlefield between West Pakistani and guerrilla forces. Kushtia, Bangladesh. March 2011.

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“I used to recruit people to fight in the war. I stayed in Bangladesh, even when so many were fleeing to India. I needed to be with my country. Now, I get no support from the government. But I still think of the war everyday.” -Fauzilla Tunnesa Bulu Fauzilla Tunnesa Bulu, born in 1919, was 52 when the Liberation War broke out. The oldest veteran included in this project, Bulu Apa was a key driving force throughout the war, working continuously to organize and prepare soldiers for battle. Now, at the age of 92, she lives in rural Rangpur with her son and daughter-in-law. Rangpur, Bangladesh. June 2011.

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Liberation War Memorial. Dhaka University, Dhaka, Bangladesh. March 2011.

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“Both my husband and I fought for the liberation of this country. But while he has a Freedom Fighter’s certificate and people recognize him as a great warrior, to me they say, ‘You are just a wife.’” -Amena Begum Amena Begum, pictured here in the bedroom of her house in Sirajganj, served in the Liberation War with her husband, smuggling weapons for fellow mukti juddha throughout the conflict. Sirajganj, Bangladesh. June 2011.

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Ganga river ferry dock. Waterways were used to flee the city following the start of the war in March 1971. Millions vacated Dhaka to hide in village family homes, but many who used the country's rivers for transport were fired upon and killed mid-transit. Sirajganj, Bangladesh. March 2011.

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Kushi Kabir, pictured in her bedroom, has dedicated her life to helping underprivileged populations in Bangladesh, work for which was recently nominated for the Nobel Peace Prize. She cites the Liberation War as having changed what she believed she needed to do with her life. Dhaka, Bangladesh. September 2011.

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A young boy stands in the early morning light. Barisal, Bangladesh. July 2011.

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“When the war started I disguised myself as a man in order to fight with the boys from my village against the West Pakistani army. I felt so much anger then, because they were killing our people. I needed to fight.” -Shirin Banu Mitil Shirin Banu Mitil, here pictured with her two daughters, disguised herself as a man and fought alongside her cousin during the war. Highly active in student politics when the war broke out, she decided to go along with the men in her hometown rather than stay behind. A few months into the war, she was exposed and sent to a women's training camp in Gobra, just outside of Calcutta, India. Dhaka, Bangladesh. May 2011.

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Old Kushtia railway station. The station was ambushed by the West Pakistani military during the war, and so badly damaged that it sits unused to this day, with the new, operational station a few blocks down the road.

 Kushtia, Bangladesh. March 2011.

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A famous Bangladeshi sculptor, Ferdousi Priyabhashini is here pictured in her home in Dhaka. Ferdousi was one of the first women to speak openly about being raped by the West Pakistani army during the war, pushing back against the societal taboo that forced many women to keep silent about their experiences of sexual assault during the war. Since the end of the war, she has been a strong and persistent force pushing for acceptance and justice for these women who were raped during the war. In the past many years, she has become a renowned artist, developing her own sculpture technique in which she sows and grows plants in carved pieces of dead wood. Out of death she cultivates life. Dhaka, Bangladesh. June 2011.

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Ganga river, Bangladesh. April 2011.

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Maleka Khan walks through her garden at her village home. Maleka, a social worker, directed hundreds of centers across Bangladesh that rehabilitated women who had been raped during the war. Norshingdi, Bangladesh. April 2011.

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Candles mark a mass grave for students and faculty who were killed by the Pakistan army on the night of 25 March 1971 in the Dhaka University Hindu campus complex as part of Operation Searchlight. Hindus were among the first targeted during the war, seen as the West Pakistani forces as traitors who encouraged the establishment of an independent Bangladesh. Dhaka, Bangladesh. March 2011.

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“During 1971 I went to Agortala, India and worked in a make-shift hospital where we treated injured Freedom Fighters. We often came under fire from the West Pakistani army, and so we had to relocate often. We lost many fighters, poor Bangladeshis from the villages who were fighting for liberation. But the Bangladeshi political leaders – they just stayed in Calcutta during the war, living like kings. They didn’t feel the hunger, they had no problem surviving. Those who were rich then are rich now, and those who fought then suffer now. -Rokeya Sultana Shila Rokeya Sultana Shila, pictured here in her bedroom, is outspoken about the privileges bestowed upon the political elite who assumed power following the independence of Bangladesh. She maintains that the people who actually fought for freedom have never benefitted from it themselves. Comilla, Bangladesh. August 2011.

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A young boy walks by posters of Bangabandu Sheikh Mujibur Rahman at a gathering to mark the fortieth anniversary of the Liberation War.

 Dhaka University, Bangladesh. March 2011.

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Children play outside of a mosque on Friday. Dhaka, Bangladesh. November 2010.

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Kakon Bibi, pictured here in a guesthouse in Dhaka, is widely known to have fought in the Liberation War, but receives no stipend from the government. She and her family now live in extreme poverty in the far northeast of Bangladesh. Dhaka, Bangladesh. September 2011.

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A young girl walks just outside of Kushtia city, where a number of decisive battles took place during the Liberation War. Kushtia, Bangladesh. March 2011.

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Nine women who were raped by the West Pakistani army during the Liberation War. Following the end of the war, all women who were raped were given the honorific term birangona, which roughly translates to war heroine. But the term soon became a mark of shame for the women, many of who were rejected by their families upon their learning that they had been raped during the war. These nine women are part of a larger group of rape victims who have been living close to each other in Sirajganj, Bangladesh, supporting each other in ways that their families and the government now refuse to do. They have been outspoken in fighting against the social stigma associated with rape in Bangladesh, and maintain that they should be called mukti juddha, or freedom fighters, as those who fought in the liberation struggle are. They all receive support from Sirajganj Uttaran Mohila Sangstha (SUMS), an organization founded and run by Safina Lohani. During the Liberation War, Safina provided food, shelter, and medical aid for mukti juddha who were receiving training in preparation for battle. Following the end of the war, Lohani established SUMS and began seeking out and providing care to those women who were sexually abused during 1971. SUMS received government backing until 1975 and the assassination of Sheikh Mujibur Rahman, at which point the new government cut off all financial support and forced the organization to disband. Over the course of the next year, Lohani personally found the women who were previously under the organization’s care, and reestablished SUMS independently. Since then she has been maintaining and running SUMS unaided, with only the support of private donations.

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Asiya. Sirajganj, Bangladesh. August 2011.

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Nujahan. Sirajganj, Bangladesh. August 2011.

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Asiya. Sirajganj, Bangladesh. August 2011.

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Ayesa Begum. Sirajganj, Bangladesh. August 2011.

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Josna Begum. Sirajganj, Bangladesh. August 2011.

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Hasina. Sirajganj, Bangladesh. August 2011.

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Rahela. Sirajganj, Bangladesh. August 2011.

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Mahela Khatun. Sirajganj, Bangladesh. August 2011.

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Shurjue Begum. Sirajganj, Bangladesh. August 2011.

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  • © Elizabeth D. Herman
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“A Woman’s War: Bangladesh”

 by Elizabeth D. Herman

 

This year marks the 40th anniversary of the birth of Bangladesh, a nation that emerged from a bloody fight for independence from Pakistan. The story of Bangladesh’s liberation struggle is one that is well told and well remembered by the nation; the official narratives are retold and exchanged often – and often by heart.  Stories of the origins of the movement, of its key players and events, of its Freedom Fighters, or mukti juddha, who came together to fight for Bangladeshi independence and emerged victorious in December 1971 after nine months of intense guerrilla warfare, are recounted in schoolbooks and events across the country, month after month, year after year.

But the individual stories stray from these official narratives.  They begin long before the start of the war in March 1971, and continue far beyond its conclusion.  They are the stories of women who grew up during the heart of the Language Movement, who attended college amidst intense political and social upheaval.  Who found themselves in the middle of a war-torn country – and at the frontlines of the battle for its independence. 

A woman’s war is distinct. She not only has to be a fighter, but is also expected remain a mother, wife, and anchor of the family. Women performed key roles in the 1971 war, serving as combatants, informants, nurses, weapons smugglers, and much more. They also suffered its consequences: psychological trauma, physical debilitation, displacement, widowhood, mass rape with associated pregnancies, and the destruction of their homes and livelihoods.  At the end of the war, they were left with the dual burden of confronting its scars, while attempting to reconstruct their own and their family's lives.

Yet, their ordeals remain largely invisible; as Sharmeen Murshid writes, “the 16 volume history of the liberation war published by the government shows an incredible amnesia about the role of women combatants…only emphasiz[ing] women as victims.” With records and rituals of recognition ignoring women’s contributions, their struggles both during and after the war are unrecorded and unrecognized.

I set out a year ago hoping to learn some of the accounts of these women.  What I found was a whole other history from the one that I had read about in books and papers.

The project started as a kernel of an idea, sparked by photographs I saw in Drik Photo Agency’s 1971 archives: images of Bangladeshi women in beautifully draped white sarees, marching in perfect lines, rifles perched on their shoulders.  Images led to questions – What was the role of women in this war? Why isn’t their history as readily known as other narratives in the mainstream? – that blossomed into an oral history and photography project – “A Woman’s War” – the images and words that you see now.

The journey took all of 2011 and crisscrossed Bangladesh, bringing me from the heart of its megacity capital of Dhaka to some of the most remote villages in the countryside, weaving throughout the country’s seven districts along the way. It led me to veterans, activists, legal experts, writers, and artists engaged in these issues of memory and history. It opened the door to a community of women who had been carrying with them their stories from 1971, most untold in forty years since the war’s completion.  Through personal interviews and immersion into the day-to-day existence of individual women, I have focused on three aspects of their lives and the way that the war has defined them, and their families, and their communities:

1. Personal History: With portraiture and recorded testimonies of female mukti juddha, I hope to add to the histories of the independence struggle and subsequent re-construction of Bangladesh. While the testimonies include women’s wartime experiences, they focus on their lives in the decades since, highlighting the struggles in reconciling the dual roles of fighter and caregiver they have been expected to fill in society.

2. Physical Scars: Bangladesh’s Liberation War was fought at the doorsteps of every home in the nation; the battlefields were the streets and alleys of her cities and villages. Its scars exist within the souls of the victims and on the surfaces of the country. I visually explore, using individual memories as guides, sites where personal histories were made and personal traumas defined.

3. Memories & Dreams: As Bangladeshi photographer Shahidul Alam writes,

What of the photograph made out of nothing? What about painting with light? Is it photography? Surely if we can paint with light we can paint with dreams…Is it fake? Hardly. Whatever else may be false in this tenuous existence of ours, imagination is not…If pixels be the vehicle that realizes our dreams, be it so. 

Using photography as a ‘vehicle’ for the imagination, I work to evoke intangible memories and traumas of this conflict, and the subsequent personal reconciliations experienced by these women. I seek to visualize not only what these fighters have experienced, but also where they wish to go – the dreams they hold for themselves and their children.

The women that I have met and the testimonies that they have shared are fascinating and heartbreaking.  Conversations included women who ignited the liberation movement, meeting every week under a banyan tree at Dhaka University to protest oppression by the West Pakistani political elite; those who dedicated their lives to the war, losing children and spouses, parents and siblings along the way; women who provided unwavering care and shelter to extended family and fellow mukti juddha, strengthening the war effort and moving it forward; women who stepped into spaces where even many men would not dare to go.

What emerged from these meetings is another narrative of the war, told through the words of women actively involved in the liberation movement.  They have been at the center of this struggle, from the buildup in the years prior to March 1971, to the reconstruction efforts that have continued in the forty years since. They have spoken to me about the importance of sharing their histories in this moment; with the start of war crime tribunals, they underscore a hope that a reassessment of national history will take place, one that brings the role of women into the story. Through these conversations, the purpose and urgency of this project has become increasingly clear: the need to record the histories and perspectives that the nation has yet to confront, yet whose documentation and acknowledgement is crucial if Bangladesh – and these women who fought for its independence – are to find justice and peace.

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