Since this performance, Lal has been prolific: aside from his collaborations with Rajna Swaminathan, Ganavya, and others, he released raga shorts “Shuddha Sarang” in 2021 and “Bhairav” in 2024, as well as the EP “Raga Bhimpalasi” this August. INTERACTIVE Between Notes: An Improvisational Set Since this performance, Lal has been prolific: aside from his collaborations with Rajna Swaminathan, Ganavya, and others, he released raga shorts “Shuddha Sarang” in 2021 and “Bhairav” in 2024, as well as the EP “Raga Bhimpalasi” this August. Utsav Lal As part of SAAG's live event In Grief, In Solidarity on June 5th, 2021, the raga and jazz pianist and composer Utsav Lal performed a set that kicked off the proceedings. With his quick-fingered approach, glimmering with deep pauses leading to swift digressions that slide through and between notes, Lal—who has been called “ the Phil Coulter of raga ” —began the event by offering a set that was at once meditative and immersive. Lal has performed solo at the Carnegie Hall, Southbank Centre, Kennedy Center, and Steinway Hall, among others, and has been honored as a Young Steinway Artist, amongst others. He has seven solo records, including a historic world’s first album on the microtonal Fluid Piano (2016). In 2023, Lal performed for SAAG's Volume 2 launch event as part of the “ Vagabonds Trio, ” which includes himself, Rajna Swaminathan, and Ganavya Doraiswamy. The performance heralded both a new volume of SAAG and Rajna Swaminathan's latest album, Apertures . Buy Lal's latest release, Raga Bhimpalasi: Indian Classical Music on the Piano, here . As part of SAAG's live event In Grief, In Solidarity on June 5th, 2021, the raga and jazz pianist and composer Utsav Lal performed a set that kicked off the proceedings. With his quick-fingered approach, glimmering with deep pauses leading to swift digressions that slide through and between notes, Lal—who has been called “ the Phil Coulter of raga ” —began the event by offering a set that was at once meditative and immersive. Lal has performed solo at the Carnegie Hall, Southbank Centre, Kennedy Center, and Steinway Hall, among others, and has been honored as a Young Steinway Artist, amongst others. He has seven solo records, including a historic world’s first album on the microtonal Fluid Piano (2016). In 2023, Lal performed for SAAG's Volume 2 launch event as part of the “ Vagabonds Trio, ” which includes himself, Rajna Swaminathan, and Ganavya Doraiswamy. The performance heralded both a new volume of SAAG and Rajna Swaminathan's latest album, Apertures . Buy Lal's latest release, Raga Bhimpalasi: Indian Classical Music on the Piano, here . SUB-HEAD ALSO IN THIS ISSUE: Kareen Adam · Nazish Chunara A Dhivehi Artists Showcase Shebani Rao A Freelancer's Guide to Decision-Making Follow our YouTube channel for updates from past or future events. SHARE Facebook Twitter LinkedIn Live Brooklyn Raga Jazz Piano Music Performance Live Performance Improvisation Rajna Swaminathan Ganavya Carnegie Hall Fluid Piano Vagabonds Trio Raga Bhimpalasi Classical Music UTSAV LAL is an Indian-American pianist-composer often known as the "Raga Pianist". Hailed by numerous media outlets as a ground-breaking performer, Lal has performed solo at the Carnegie Hall, Southbank Centre, Kennedy Center, Steinway Hall, among others, and honored as a Young Steinway Artist, amongst others. He has collaborated with Martin Hayes, Dennis Cahill, Winifred Horan, Australian Contemporary Circus Theatre CIRCA, Talvin Singh, George Brooks, Rajna Swaminathan, and has 7 solo records, including a historic world’s first album on the microtonal Fluid Piano (2016). Lal holds degrees in Contemporary Improvisation from the New England Conservatory of Music, and Jazz from the Royal Conservatoire of Scotland. 5 Jun 2021 Live Brooklyn 5th Jun 2021 Quintet Priya Darshini · Max ZT · Shahzad Ismaily · Moto Fukushima · Chris Sholar 25th Apr “Apertures” with the Vagabonds Trio Rajna Swaminathan · Utsav Lal · Ganavya 19th May The Aahvaan Project · Performance Vedi Sinha 5th Jun Natasha Noorani's Retro Aesthetic Natasha Noorani 5th Jun FLUX · Jaishri Abichandani's Guided Studio Tour Jaishri Abichandani 5th Dec On That Note:

ARTIST Haris Hidayat Ullah HARIS HIDAYAT ULLAH is an illustrator and a visual artist with works rooted in critical thinking, cultural phenomena and the absurd. He’s been involved with projects like Red Bull Radio, The Fearless Collective and has headed illustration workshops at the British Council Library, conducted art history workshops and exhibit at Rabtt. His collaborative initiative RTF Studio is shaping a diverse musical landscape. Additionally he has also been a speaker at TEDxGCU, where he gave his talk Navigating Through Self . Currently, he runs his artistic project called Lewanay delving into his surroundings, experiences and identity. Haris is also an Art Director in the fashion industry leading various editorial campaigns and visual storytelling. ARTIST WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

ARTIST Mukhtar Kazi MUKHTAR KAZI is a self-taught artist based in Thane, Maharashtra. His work engages light through abstract forms. His work The Sea and the Sahel was exhibited with Stranger’s House Gallery at the 15th edition of the Dakar Biennale, or Dak’Art - Biennale de l’Art Africain Contemporain, in Senegal. ARTIST WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

PHOTOGRAPHER Ruvin De Silva RUVIN DE SILVA is an acclaimed actor, director, and award-winning photographer from Colombo, Sri Lanka. PHOTOGRAPHER WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

Ehab Abdulla EHAB ABDULLA was born in Malé (1981) and has lived and studied in Sri Lanka, the UK, and Australia. He is heavily influenced by the urban culture, music, and painters of America in the 1960s. His primary medium is oil on canvas. Ehab describes this series of paintings as a love affair with his hometown, Malé. Like all good love affairs, it comes with its ups and downs, with moments of heartbreak and moments of unadulterated joy. WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

These reflections do not aim to present a neat list of 2024’s "best" books or "essential reads." Instead, they are fragments of what stayed with us: works that lingered and called us back. BOOKS & ARTS SAAG’s 2024 In Reading AUTHOR These reflections do not aim to present a neat list of 2024’s "best" books or "essential reads." Instead, they are fragments of what stayed with us: works that lingered and called us back. Reading in 2024 often felt like fumbling for grounding amidst relentless upheaval. At times, it offered escape and solace. At others, it demanded grappling, interrogation, and a necessary confrontation. Whether through poetry, history, fiction, or essays, our reading this year insisted on engagement: on seeing, feeling, and remembering to live, even when it felt unbearable. These reflections do not aim to present a neat list of 2024’s "best" books or "essential reads." Instead, they are fragments of what stayed with us: works that lingered and called us back. Our favorites include a novel set in Baltimore tracing the lives of the Palestinian diaspora, texts that provide much needed clarity on revolutionary politics, a quiet yet searing study of sound and space, some comfort reads, and much more. These books held mirrors to the year and world we lived through, compelling us to look even closer when we could not look away. Here, in the voices of those who read and felt with these works, we share not only our most loved reads of the year but the struggles they opened up for us, allowing us to see anew. #1 I have an enduring love for novels that are political yet rise above preachiness or self-absorption to deliver an actual narrative. This year, I needed something visceral to help process the anger I carried: at the personally testing situations I faced over the past year, at myself, at politics everywhere, and at the state of the world we inhabit. My mind feels oversaturated by the relentless stream of online clickbaity content, which so often tells you how to feel rather than inviting you to actually think. My two favourite novels from my year in reading are Chain-Gang All Stars by Nana Kwame Adjei-Brenyah and Headshot by Rita Bullwinkel . Fiction, though it might seem an escape from reality on the surface, teaches imagination and heart like nothing else. Reading about people in combat—be it dystopian televised death matches among the incarcerated or teenage girl boxers—transported me this year to worlds where I could quietly take stock of do-or-die battles: from the expansive and deadly to the taut and fleeting. — Zoya Rehman, Associate Editor #2 Although I had a thinner reading year in general, I waited quite excitedly for the release of Poor Artists , a hybrid work of fiction and non-fiction by art writing duo The White Pube (Zarina Muhammad and Gabrielle de la Puente). It follows a young brown artist in the UK named Quest Talukdar and includes anonymous material from real art world figures. The book is so refreshing, lucid, and plainly radical. As a young person working in the arts in the UK right now, it simultaneously felt crazy and comforting to imagine other ways of being creative under capitalism, with mutual care at the forefront. In short: I am so glad this book exists in published form. — Vamika Sinha, Senior Editor #3 How many ways are there to write histories of a language, or more specifically, histories of a script? In Scripts of Power: Writing, Language Practices, and Cultural History in Western India , Prachi Deshpande outlines at least two methods, weaving a fascinating history of Modi writing, a cursive Marathi script that has, since the early 20th century, fallen into disuse. There’s a cherished dogma among some South Asians who see the subcontinental patchwork of regional linguistic blocs as somehow more organic an entity than the bloc of nation-states that we have today. The book makes one wonder how true that is. My second pick, Thomas S. Mullaney’s book on the Chinese computer , is a direct descendent of his earlier work on the Chinese typewriter (which carries one my favorite acknowledgments of any academic monographs; it begins: “What is your problem?”). This one asks how different generations of engineers, enthusiasts, eccentrics, and entrepreneurs tried to solve the fundamental problem of computing in Chinese: how does one input a language with no alphabet into a digital computer? Lastly, I chose Write like a Man: Jewish Masculinity and the New York Intellectuals by Ronnie Grinberg , partly because it is about a bunch of people who read, wrote for, and edited longform, literary-political magazines based out of New York (much like SAAG), and were interested in engaging with the world through argument. And partly because I have a weakness for anything having to do with the midcentury, Partisan Review-Commentary-Encounter crowd. Grinberg’s book, thankfully, is a refreshing departure from the exhausted genre that is the lament for the decline of (often New York-based) public intellectuals. — Shubhanga Pandey, Senior Editor #4 This year, every book I read felt like a knock-out including: Animal by Dorothea Lasky , Yellowface by R.F. Kuang , Letters to a Writer of Color edited by Deepa Anappara and Taymour Soomro , Fling Diction by Frances Canon , Riambel by Priya Hein , Dumb Luck and Other Poems by Christine Kitano , Letter to the Father by Franz Kafka , Another Word for Love by Carvell Wallace , Cloud Missives by Kenzie Allen , A Fish Growing Lungs by Alysia Li Ying Sawchyn , and The Psychology of Supremacy by Dwight Turner , among many others. Each book I read challenged and changed my approach to creative writing craft, human psychology, how we process social trauma, and what we can learn from community, as well as demanding systemic change. One poetry collection that showed me how form could explode on the page, and how polyvocality and the acknowledgement of our ancestors could be conveyed, was JJJJJerome Ellis’s Aster of Ceremonies . The collection plays with the idea of “Master of Ceremonies” as someone who both entertains and has authority over the stage. With his stutter, Ellis has difficulty pronouncing “master” (which then becomes “aster” in his work). Throughout the collection, Ellis interrogates the notion of master, both as the figurehead who controls the lives of others, often under authoritarian or tyrannical rule, and as a symbol of accomplishment and the mastery of craft. — Rita Banerjee, Fiction Editor #5 2024 has been a difficult reading year for me because of the state of the world. I often relied on comfort reads, including contemporary romances and "romantasies," but even within these genres, I encountered books that were surprising, thoughtful, and heartbreaking. A series I became hooked on was Wolfsong by TJ Klune (Green Creek, #1), which was both difficult and troubling to read (many trigger warnings), yet its writing wore its heart on its sleeve—it was raw, unabashed, and unrestrained. That's why I appreciate love stories—they give the reader permission to feel all the uncomfortable, awkward, dramatic, and unrestrained emotions. Ali Hazelwood was my favorite go-to read in contemporary romances. Another kind of comfort came from revisiting decades-old books. I read older Kazuo Ishiguro books and re-read Elena Ferrante's Neapolitan Quartet , drawn by their effortless, soothing prose, even when the novels explored difficult situations. Two books stood out to me this year. First, Minor Detail by Adania Shibli . The novel begins in 1949, through the perspective of an Israeli soldier. As the story unfolds, small, seemingly "minor" details catch his eye, details that take on deeper meaning as the novel shifts to the perspective of a Palestinian woman in the present day. The sense of dread builds slowly but relentlessly. It is a difficult read; many trigger warnings for rape, violence, and sexual assault. I also loved The Ministry of Time by Kaliane Bradley . This year, while leaning into lighthearted romances for a mental health break, this novel struck the perfect balance—lighthearted in moments, but deeply moving and beautifully written. The story follows a bureaucrat hired to work in a study and keep an eye on an "expat" that the government has brought from history: Graham Gore, who originally died on a doomed Arctic expedition in the 1800s. The novel broke my heart, transformed me, made me laugh, and gasp. I could not put it down. — Nur Nasreen Ibrahim, Senior Editor #6 2024 wasn’t a year for pleasure reading; it was a year for intentional reading. Scrambling to decide what to read, compounded by the weight of world events, brought into focus all the things I knew I didn’t know. This year, I actively sought out new sources of information, embracing a practical and necessary discomfort. That commitment began with the search for knowledge about a region my research focuses on: Central Asia. I happened upon one of the best reads of the year, The King’s Road: Diplomacy and the Remaking of the Silk Road by Xin Wen . This 300-page deep dive into the history and culture of the Silk Road examines ancient trade and cultural exchanges during a distinctive age of exploration. Wen argues that diplomacy–unlike how we see or use it today–was central to fostering dialogue, trade, and mutual respect, all while navigating conflict without resorting to war. If you love history, travel, economics, or international relations, this one's for you. The idea of traversing conflict without resorting to war was also the focus of a graduate course I completed just two days ago. Another favorite read of the year, spurred by our course discussions, was Human Capital: A History of Putting Refugees to Work by Laura Robson . I kept returning to this book all throughout term; every time I opened it, there was a new thread to follow. In this 250-page work, Robson examines how capital is often prioritised over human dignity, showing how economic forces undermine individual security and lead to physical, emotional, and psychological dislocation. And what kind of reading year would it be without a novel? In The Melancholy of Resistance by László Krasznahorkai , I was confronted with despair, power, and the fragility of society. This atmospheric novel taught me how to confront the eerie wonders of the world while living under the looming shadow of societal collapse. — Nazish Chunara, Associate Editor #7 I loved Border and Rule by Harsha Walia . With microscopic clarity, and a postcolonial lens, Walia’s book is an indictment of the smoke-and-mirrors narratives used by states to obfuscate the horrible realities of displacement, forced migration, and statelessness. These realities, Walia argues, are hardwired into today’s capitalist and insidiously racist border control systems of Western capitals. The book further demonstrates how these practices, benefiting a few while exploiting those on the move, are being deployed by Middle Powers in the so-called Global South—such as the UAE, India, and Brazil—against the backdrop of rising populism and the widening gulf between rich and poor. — Mushfiq Mohamed, Senior Editor #8 As South Asians, we are all acutely familiar with the India-Pakistan hegemony on the intellectual discourse in the region (language, caste, class, ethnicity, and gender, of course, further complicate who from within these regions gets to speak, if at all). Particularly, as a Pakistani woman, rarely have I had an opportunity to concertedly engage with literature by Bengali, Nepalese, Tamil, or Malayali (to name a few) writers from beyond the Hindu/Urdu speaking world. In 2024, I sought to change this and read translated writing from across the South Asian diaspora. In particular, I would like to recommend Hospital by Sanya Rushdi –a short yet powerful novel exploring the psychosis experienced by a young Bangladeshi woman in a psychiatric facility in Melbourne. I also loved Ten Days of The Strike by Sandipan Chattopadhyay , with the titular essay serving as a powerful reminder of the politics of shitting. In general, a Bengali translation by Arunava Sinha , I realised, will never disappoint a reader. Honorary mentions among my SA reading list include: Password and Other Stories by Appadurai Muttulingam , and the award-winning Brotherless Night by V.V. Ganeshanathan . — Iman Iftikhar, Associate Editor #9 More than any other year, 2024 left me feeling like I don't know anything about my world. More often than not, I didn't have the vocabulary and, more disturbingly, the emotional-spiritual bandwidth to articulate or sit with what was/is happening in the world and how it can/could/should impact how I move through life. I learnt a lot from reading Strangers to Ourselves by Rachel Aviv, Human Acts by Han Kang , Minor Detail by Adania Shibli, and the poetry and writing Shripad Sinnakaar shared on social media. These writers gave me words, feelings and narrative clarity to sustain my engagement with the world and not shut it out in the face of incomprehension. — Esthappen S., Drama Editor #10 I’ve been reflecting a lot on sound and space this year. Live Audio Essays by Lawrence Abu Hamdan is a collection of transcribed and edited texts from the performances and films he has written and compiled. Moving through excerpt-like recounts, it situates sound through text, blending anecdote with punctuated investigations. It’s a fascinating push to think more deeply about how sound is interpreted and engaged with in different contexts, from the power of sumud to police tip offs, to studying the biological effects of noise pollution. Over the summer, I visited Autograph in London to see Ernest Cole: A Lens in Exile , curated by Mark Sealy . This remarkable exhibition presented images from Cole’s time in New York and his travels around the USA during his exile from South Africa in the 1960s. I also appreciated the catalogue-style book accompanying the exhibition, The True America: Photographs by Ernest Cole , as well as Raoul Peck’s documentary, Ernest Cole: Lost and Found . While working in Paris, I attended Offprint . I had sternly instructed myself to just look and not buy more books(!), but then a small, palm-sized monotone blue book caught my eye. Hold the Sound: Notes on Auditories , edited by Justine Stella Knuchel and Jan Steinbach, is a compilation of texts by artists and researchers attempting to encapsulate descriptions of sound. The book gathers words by Apichatpong Weerasethakul, John Cage, Mosab Abu Toha, Sun Ra, and many others. On my way out I squealed embarrassingly—like an auntie remarking on how much I’ve grown—when I saw Luvuyo Nyawose’s eBhish’ . — Clare Patrick, Art Editor #11 This year, I read in the hour or so I had while our one-year-old slept and I could still keep my eyes open. Reading was both urgent, pressurized by the devastating plight of Palestinians, and a moment to breathe: a space for contemplation, and to feel. I read history, horror, and grief, grief, grief. Rarely is political analysis as exhilarating as in my first favourite read of 2024: The Selected Writings of Eqbal Ahmad , edited by Carollee Bengelsoorf, Margaret Cerullo, and Yogesh Chandrani . From revolutionary movements to “pathologies of power,” to Palestine, the cold war, and Pakistan-India, Ahmad’s insights are crystal clear, provocative, moral, and startlingly prescient. I want to emphasize the clarity of his writing, perhaps owed to his pedagogy as a teacher. I meant to read selections but ended up reading it straight through. My second pick is The Singularity by Balsam Karam (translated by Saskia Vogel) . In an unnamed coastal city, a refugee woman searches for her daughter until, in despair, she leaps to her death, an act witnessed by another woman who narrates this aching, fragmentary testimony of grief–for children, for home. Lastly, [...] by Fady Joudah : what we read this year, we read through a genocide. Fady’s scathing poems left no brutality or complicity unnamed, while speaking with tender sorrow to the dead and wounded. If nothing else, listen to Fady read Dedication here . — Ahsan Butt, Fiction Editor #12 I would like to offer Behind You Is the Sea , a novel by Susan Muaddi Darraj. Released in January 2024, just months after the events of October 7, Darraj’s novel follows three Palestinian American families in Baltimore. Its tender, nuanced characterizations of women and men, young and old, navigating their place in a city burdened by legacies of racial, economic, and legal apartheid, offer an honest exploration of immigrant life in America. Although written before the current conflict in Gaza and Occupied Palestine, it reminds us of the generational trauma and resilience that all Palestinians in the diaspora carry with them. — Aditya Desai, Advisory Editor #13 This year, I loved Sahar Romani’s poetry chapbook, The Opening , a beautiful, tender collage of poems on family, love, and coming into yourself, and into the world. For fiction, I recommend two very different books. When the Tiger Came Down the Mountain is a speculative fiction novella by Hugo Award winning author Nghi Vo. It’s wildly inventive, lyrically written, menacing, beautiful, and queer. Also on the novella tip, Berlin-based Palestinian author Adania Shibli’s novel, Minor Detail , stunned me. Written in clear, marching prose, its focus on minor details, set against the backdrop of occupation, sexual violence, death, and exile, is a portrait and a protest. In nonfiction, I loved: 1) Inciting Joy , a book of essays by Ross Gay, each one luminous with generosity, perceptiveness, and yes, joy. 2) Come Together by sex researcher Emily Nagoski, about sex in long-term relationships, though my biggest takeaway came from two chapters on the gender mirage (women as givers, men as winners) and how this construct within our patriarchal society undermines and destroys heterosexual relationships. 3) Poverty by America is sociologist Matthew Desmond’s heartbreaking follow-up to his even sadder book, Eviction . I grew up middle class, and it was infuriating and eye-opening–I’d recommend it to anyone, especially if you didn’t grow up poor. 4) Sex with a Brain Injury by Annie Liontas was another revelation, giving me enormous empathy for those with acute brain injuries (more common than you know!) and all their attendant furies. 5) Last but certainly not least, I listened to All About Love by African American legend bell hooks, twice, back to back, as the American election season came to a terrifying close. In 2025, I want to internalize hooks’ commitment to love as an ethic—in the family, in friendships, in the workplace, and in politics. — Abeer Hoque, Senior Editor With love, gratitude, and in solidarity, The Editors at SAAG. ALSO IN THIS ISSUE: AUTHOR Heading 5 Heading 5 Heading 5 Heading 5 AUTHOR Heading 5 Digital Illustration by Iman Iftikhar. SHARE Facebook ↗ Twitter ↗ LinkedIn ↗ Tags Tags Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Tags Tags 23rd Oct 2010 Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. On That Note: Heading 5 23rd OCT Heading 5 23rd Oct Heading 5 23rd Oct

ARTIST Saniya Kamal SANIYA KAMAL is a writer and artist, currently and MFA student in Fiction at Brown University. ARTIST WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

MUSICIAN Vedi Sinha VEDI SINHA is a musician and performer based in Delhi. She founded The Aahvaan Project in 2016. MUSICIAN WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

Sonali Sonam SONALI SONAM (b. 1995, Bihar) is a visual artist whose practice draws from the discipline and visual language of miniature painting while engaging with contemporary experiences of space, memory, and perception. She studied Painting at Kala Bhavana, Visva-Bharati University, Santiniketan, and later completed her Master’s degree at the College of Art, New Delhi. WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

ACTIVIST-SCHOLAR Ammar Ali Jan AMMAR ALI JAN is an activist, historian, and educator. He holds a Ph.D. in History from Cambridge, where he worked on communist thought in India. His work explores the intersection of communism and nationalism in Colonial India by examining how European ideas are extended and reshaped as they circulate in the non-European world. He is also a member of the Haqooq-e-Khalq Movement (HKM), a civil rights campaign dedicated to safeguarding the constitutional rights of Pakistani citizens. He is a regular contributor to The News International , and has taught at Government College, Punjab University, and Forman Christian College in Lahore, Pakistan. ACTIVIST-SCHOLAR WEBSITE INSTAGRAM TWITTER Heading 5 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 LOAD MORE

The Awami League’s think tank, the Center for Research Information, had a “flagship publication”: WhiteBoard magazine. Projecting a modern, Anglophone, elite identity, WhiteBoard was part of a small media ecosystem that helped to whitewash a despotic power, with youthful figures deploying their credentials in international academic and publishing circles. What to make of WhiteBoard’s advisory board members who distance themselves from the Awami League now? The Awami League’s think tank, the Center for Research Information, had a “flagship publication”: WhiteBoard magazine. Projecting a modern, Anglophone, elite identity, WhiteBoard was part of a small media ecosystem that helped to whitewash a despotic power, with youthful figures deploying their credentials in international academic and publishing circles. What to make of WhiteBoard’s advisory board members who distance themselves from the Awami League now? Kamil Ahsan, Untitled (2024). Digital collage. Artist LOCATION AUTHOR · AUTHOR · AUTHOR 23 Oct 2010 rd · THE VERTICAL REPORTAGE · LOCATION The WhiteBoard Board It’s been three weeks since the mass uprising in Bangladesh ousted the Awami League regime of Sheikh Hasina, and I remain glued to social media. Morning, noon, and night. One morning, eyes barely open, I wake up to several Facebook posts up in arms over an article in the Dhaka newspaper Bonik Barta, titled “CRI and WhiteBoard: Radwan Mujib Siddiq Bobby and his advisory board.” I see a screenshot from Bonik Barta with the faces of ten people. I recognize five. A few of them I have called my friends in the past, although distance crept in during the final years of the Hasina regime. Two have now shared Facebook posts denying they were ever a part of the advisory board of the Center for Research and Information (CRI). They say they had only been members of the editorial advisory board for CRI’s magazine, WhiteBoard, and had no association with CRI. Radwan Mujib Siddiq is the Editor-in-Chief of WhiteBoard and a trustee of CRI. He happens to be Sheikh Hasina’s nephew, the son of Sheikh Rehana, sometimes mentioned as Hasina’s successor. The CRI was the Awami League ’s think tank, the creator of projects such as the Sheikh Mujib comic book series, a volume of quotations from Sheikh Mujib , and, of course, WhiteBoard magazine. Earlier this year, the CRI came under scrutiny when news reports published some alarming information about the organization's activities. Meta had just published, in its Adversarial Threat Report for the first quarter of 2024, a section on Bangladesh that mentioned they had removed 50 Facebook accounts and 98 pages related to the Awami League (AL) and the CRI for “violating our policy against coordinated inauthentic behavior”: specifically the use of fake pages masquerading as real news outlets that spread pro-government propaganda. I am not surprised by the board members’ objections and disavowals. We are prone to compiling lists of “traitors” to be shunned and there’s a whiff of guilt by association. But the defensive explanations hardly seem adequate either. The websites for the CRI and WhiteBoard are no longer available. Thanks to the Wayback Machine, I’m able to read archived articles. I find some old press coverage of their activities from Netra News . It’s plainly stated that the CRI was considered the “research wing” of the AL, and WhiteBoard proudly declared itself as the CRI’s “flagship publication.” From the names of the editorial advisory board and other contributors, it’s clear they tried to rope in academic and civil society personalities. They also claim that WhiteBoard was “the first policy magazine in Bangladesh.” I doubt that. The AL has long tended to deny achievements in Bangladesh’s history not directly spearheaded by them. I read some of WhiteBoard ’'s old articles. They generally avoided issues of power and politics. I find two notable exceptions, however, that sing the glories of BaKSAL , the Bangladesh Krishak Sramik Awami League, the “one” party spearheaded by Sheikh Mujib when he established a one-party state in 1974, banning all opposition, and silencing all but four newspapers . One of the articles by Syed Badrul Ahsan, a well-known apologist for the AL, contains this delightful sentence: “When BaKSAL came in, the government approved four newspapers, two Bengali and two English. It would be simplistic to suggest that this was a measure to curb dissent. No, I would say it was a measure to bring about discipline in journalism.” Remember that the next time someone bans freedom of expression. It’s not meant to silence speech. Just to bring about some discipline . Of course, BaKSAL has long had a sordid reputation in Bangladesh, but during its latest rule, the AL—in creating the second edition of its authoritarian rule—was eager to rehabilitate its legacy, and WhiteBoard was eager to join in. Indeed, during the last fifteen years, the Awami League became well-known for crude remarks from its ministers and party leaders and the thuggery of its student and youth wings in the media. This was often embarrassing to the more suave apologists of the regime. I get the impression that WhiteBoard was aimed at projecting a smart, youthful, modern, and Westernized look for the AL regime. It was published in English. The board’s membership, dominated by people from the English-fluent posh neighborhoods of Dhaka, seemed geared towards gathering goodwill from the West and courting a younger elite within Bangladesh. The board includes figures involved in the corporate and tech sectors, private universities, the biggest NGO in the country, and the English-oriented literary and publishing spheres. The CRI was only one arm of the regime’s soft power projection. It also used other platforms managed by WhiteBoard advisors. The board member Kazi Anis Ahmed wears multiple hats, diverting “thousands of dollars…into a years-long covert lobbying effort in Washington DC” on behalf of AL, according to a recent report, which details Ahmed’s shadowy dealings with groups that lobbied for Tulsi Gabbard and conservative think tanks. Ahmed directs a family corporate group, publishes the Dhaka Tribune and Bangla Tribune newspapers, heads up a major private university, and runs the Dhaka Litfest . Through the festival, he cultivated connections in global literary and media circles that helped create goodwill towards the Hasina regime. He also penned op-eds locally and in the foreign press defending stolen elections. Unlike the Awami League’s central command, which claims that there was no rigging, Ahmed’s editorials took a different line—one for a “sophisticated” global audience. One example : “While their elections have been heavily questioned for their credibility, election interference is hardly unique to the Awami League.” He hammered home the regime’s appeal to India and the West–Hasina was the last line of defense against an Islamist takeover of Bangladesh. Some on the editorial advisory board are known AL supporters; others don’t have such clear affiliations. The upper class in Bangladesh is entangled in multiple webs of family and social ties. Some on the board joined because of such social connections, others perhaps because after a decade of entrenched power, the idea was simply: “the Awami League regime is the only game going, and if I want to get access to realize my policy ideas, how else do I get that?” Yet others signed up to get their photos and names in a slick-looking publication with clout. But when you put it all together, you can’t avoid the conclusion that no matter why each person joined—their intentions really don’t matter—they became part of a machine to promote the Hasina regime and bolster her cult of personality, as well as that of her father. After all, this was a regime that passed legislation outlawing any criticism of Mujib. The CRI and WhiteBoard helped provide an intellectual veneer to the Awami League’s rule. They deployed resources to boost Mujib and Hasina’s “thought” in recent years. WhiteBoard articles continually hammered in the theme of “development through political stability,” but they kept silent about the other side of the coin: the regime’s terror-fascistic methods of ruling, the disappearances, torture, extra-judicial executions, secret jails, and censorship. And in perfect nepotistic tradition, the CRI and the WhiteBoard ’s leadership teams included four members of the first family. The Awami League rigged three elections and dreamed of ruling forever. They truly believed that, by birthright, as the party that led the movement for independence, they had the sole right to rule. A regime like Hasina's rested on many legs. You cannot build an authoritarian regime with bullets, digital surveillance, security forces, and goondafied youth alone. You need compliant media and other ways to build up soft power. Whenever protests emerged on the streets, the youth squads were sent out to pummel and even shoot protesters. These squads wearing motorcycle helmets became popularly known as the Helmet League. Those intellectuals who supported or justified the AL’s power might claim that their role was different. But then, I recall a distasteful conversation in 2008 with a university professor in Dhaka lecturing me on the importance of a party having peshi shakti, muscle power. For many intellectuals, the lure of closeness to power and the rewards were seductive. And even for those journalists, NGO wallahs, and academics who wanted to preserve some independence but avoid marginalization, it wasn’t easy. I bet each editor, professor, reporter, talk show host, or NGO director who agreed to join the conveyor belts of the ruling power has a story to tell. Most won’t. But might some? Like those who wrote the Facebook posts claiming distance from the CRI and WhiteBoard ? Bring out the details, I say. At a time when much is being revealed about how this regime functioned, I wish some would be brave enough to spell out how the daily cultural and academic life worked under the now-departed regime. It would be far more enlightening than weak justifications about why we only did this much and not more. Open air, too, can be a robust disinfectant. ∎ SUB-HEAD Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Facebook Twitter LinkedIn Add paragraph text. Click “Edit Text” to customize this theme across your site. 1 Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Add paragraph text. Click “Edit Text” to customize this theme across your site. You can update and reuse text themes. Tags Tags Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 Heading 5 Heading 6 Heading 6 Heading 6 On That Note:

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