The following was sent to us anonymously. After verifying some of the information posted here and considering complete blackout of this news in the print media, we are publishing this. This has a few interesting points that needs to be debated. The background of the story was covered here. The opinion is of the author only.

Unholy Alliance?

-Proshno Uttor

The past few weeks have seen tempers run high in some part of the artistic and heritage community over the supposed ‘theft’ of our artifacts by a foreign government, their ‘threatened destruction’ and the ‘anti-state’ activity constituted by their exhibition abroad. Quieter voices within both communities have talked about the importance of culture being part of a universal heritage, which cannot be confined within geographical borders and boundaries but must be shared across communities and countries. But our press has done little to give space to these voices, reporting only the shrill and frankly ignorant (’the Mona Lisa has not been shown outside France’ says one eminent former DG Archaeology – now involved in litigation to stop the artefacts being taken abroad).

All this is about the exhibition on ‘Masterpieces of Bangladesh Art’ to be shown at the Musee Guimet in Paris from October 2007 to March 2008. Or rather the exhibition that should have been shown. Right now it is again a moot point whether the artefacts will ever reach Paris at all, let alone be displayed.

The first time the exhibition was delayed due to a so called ‘public interest litigation’ raising questions about whether the agreements entered into between the Government of France and the Government of Bangladesh and various Bangladeshi national museums had been in accordance with law. This petition included documents from files of the National Security Intelligence. It would be interesting to know how those involved in the case obtained these documents. As it happened, these documents concerned inquiries pending against a government official who it was claimed was involved in accompanying the artifacts to France. In documents presented by the Government before the Supreme Court (and given to the petitioners) it was clear that this claim had no basis at all. The person named is not accompanying the exhibits, nor was he doing so. When the petitioners were asked by the Supreme Court to explain what evidence they had on this point, their lawyer was unable to respond.

The second attempt was a case filed before the District Court, again by ‘art lovers’ including former DGs of Archaeology etc. Interestingly, the case was filed (according to newspaper report) against the French Ambassador and others. The Court issued a show cause order, but did not stop the artefacts from going.

At this point, with no more puppets to join the dance, the DGFI’s (Military Intelligence) fist finally came out from beneath the glove. It directly intervened at the airport to stop the artifacts from going on the ground that an ‘inquiry’ is to be held. An inquiry into what? An inquiry which effectively amounts to non-compliance with an order of the apex Court?

The artists and other genuine arts lovers who raised questions regarding this exhibition surely did so from the cleanest of motives. They were not informed by the Government of many details of the exhibition and being active members of civil society rightly felt that there should have been greater public information and consultation on the issue. Since Bangladesh has never had a major international exhibition of ancient art, it was understandable also that few people were familiar with the procedures and protocols, and were anxious about the risks involved. Perhaps more information and clarification would have resolved their doubts. But for the true believers, perhaps even that would not have helped.

But what deserves attention now is whether these artists know that they are dancing to someone else’s tune? Perhaps alarm bells should have rung when a security consultant, the petitioner in the High Court case, claimed publicly that sending ‘our artifacts abroad is an anti-State activity’? And when NSI documents appeared in the Writ Petition? Or when at least two of the people involved with the writ allegedly held frequent meetings with top DGFI Officers?

You would think that those who are most disturbed by the current situation, anxious to see a ‘return to the rule of law and democracy’ where the ‘powers that be’ do not determine all results and outcomes, would find this particular outcome chilling. But do they? Or have some of them at least helped to bring this about?

For now the DGFI action has interfered with the Supreme Court’s order, preventing the artifacts from going to France and the exhibition from opening. Why are our intelligence so opposed to this exhibition and why are they greater guardians of our cultural heritage than even the apex Court? More importantly, why does this exhibition bother them so? Is it because it will show a face of Bangladesh which is different from that they wish to project?