The Inception Grant solo show, ‘We Live to Fight,‘ curated by Prima Kurien in partnership with Triveni Kala Sangam unveiled Zobayer Hossain Joati’s captivating collection. Through his powerful images, Joati skillfully redefines the narrative of martial arts in Bangladesh, forging a new chapter in its history. Each picture thoroughly discovers the deeply rooted culture of this fighting sports tradition. Zobayer’s pictures go beyond just capturing the essence of the game; they also beautifully portray the intellectual dimensions of sports and sportsmanship.
The photographs highlight photographic elements – lighting, lines (both vertical and horizontal), angles, and composition. The analysis of the angles is truly mesmerizing. Most photographs were expertly taken from a lower perspective, enabling a seamless composition that effortlessly combines the foreground, midground, and background. This clever technique creates an enchanting illusion of a three-dimensional plane.
Zobayer’s camera stays consistently focused on the careful and immediate actions executed before us. The black-and-white photographs introduce us to talented artists, boxers, and wrestlers, highlighting the timeless essence of this sport and pastime. Not only do these images enthral us, but they also beautifully honour the profound martial arts legacy that has shaped Bangladesh for decades. It is a landscape that continues to nurture traditional practices like ‘lathi-khela,’ ‘boli-khela,’ and ‘bhuttan,’ along with modern-day boxing and wrestling. Gore and glory go hand-in-hand; this is a world where mediated aggression becomes a source of livelihood, upliftment, safety, and pleasure. Zobayer’s images immerse us in the intimacy of a life that goes beyond a mere scoreboard. It offers us a front-row seat to the fighters’ lives, giving us a glimpse beyond just the game itself. Now no longer appearing impassive and anonymous, but instead engulfed in a symphony of chants and cheers (and even a mix of boos and hisses), we bear witness to an extraordinary display of divine salvation from the fighter himself. It is the story of a resilient nation fighting for its place; a story Zobayer narrates with profound conviction.
Certain shots depict a blurred motion, effectively evoking a sense of movement that persists beyond their two-dimensional rendering. These photographs go beyond merely documenting. It also discusses class norms followed for financial and political reasons. Pictures also hold a great socio-economic allure. Many of them delve into a world deeply steeped in the rich folklore of boxing tradition. Describing Zobayer’s photographs as mere documentation of a struggling culture in Bangladesh would be an understatement. His images transcend boundaries, delivering a forceful impact that unveils the unnoticed tension and volatility that has been ignored for far too long.
Zobayer leads us on a captivating expedition into the raw and gripping underworld of muscular showcases, combat injuries, and fierce confrontations. It is a mesmerizing show, a dazzling circus of hidden rings and less renowned arenas, offering us a glimpse into the gruelling training of fighters who prepare relentlessly for the most pivotal battle of their lives. Zobayer’s camera captures figures that are constantly in motion, never sitting idle, and freezes these moments of heightened movement. It teasingly invites viewers to ask for more. Through brooding and dramatic documents, a silent understanding arises between us and the photograph. We are both fully aware of the indisputable certainty of how the fight will ultimately unfold, however, Zobayer deliberately chooses not to disclose the pivotal strike to us. Immersing us in a maelstrom of intense emotions, his powerful imagery implores us to simply let them unleash their full impact. In the depths of seclusion, concealed from prying eyes and sheltered within secure walls, our primal yearnings awaken. It is precisely in this extraordinary moment that he evokes the truest essence of our being.
Photo Courtesy – Picture of The Year Asia
