This is not a dry and objective report written on "Weekly Bichitra" magazine and it's Editor, Shahadat Chowdhury-our Shahadat Bhai. It is a tribute to a man who was not only a remarkably successful Editor, but also one of the chief mirrors and architects of post-1971 society mindscapes.
He symbolised a set of ideals that created space for more than one generation to articulate and realise their thoughts and actions. In every sense, he was a historic personality who stood before us in the attire of a journalist and could say, "Be yourself."
He left us a long time ago, and our own time is drawing to an end. But once many decades back we were part of a shared era and several collective endeavors. I am not doing an evaluation but paying respects to an outstanding human being and the institution he led-an institution that itself became one of the greatest symbols of an era.
Saptahik Bichitra
We grew up in an age of intensely nationalist media- the 60s- when it had become the primary instrument for the middle class to shape public opinion against Pakistan. One of the finest examples of the press from that era was "Dainik Pakistan", which set a benchmark for quality journalism that served as a model for all.
Everyone wanted to see their writings published there, and it was no surprise. For those with a literary bent, it was even more compelling, as poets Shamsur Rahman, Hasan Hafizur Rahman, and the venerable Ahsan Habib were all working there.
After the 1971 war, it returned with the same strength as before. As far as I recall, "Dainik Pakistan" was renamed first as "Dainik Bangladesh" and later "Dainik Bangla". As a media researcher, I can confidently state that despite resource constraints and various hurdles in gathering news, this newspaper remains unmatched to this day in terms of integrity and reporting quality.
One of the unique elements that marked Dainik Bangla's signature was its associate weekly publication, "Saptahik Bichitra"-known to everyone simply as "Bichitra". And its Editor, Shahadat Chowdhury, was the primary craftsman behind that multidimensional success.
Back Then
When I first met Shahadat Bhai, "Bichitra" was already a household name, and I was just a university student. Though born out of the daily newspaper, Bichitra was far more popular among the middle class. It was urban, sharp, and fashionable. It bore no shadow of the pre-Bangladesh conservatism that overcast many other publications.
We knew the name of Shahadat Chowdhury, and we knew Shahriar Kabir-who was very close to the family of Zahir Raihan, one of the most iconic names of post-1971 Bangladesh. There was also Mahfuz Ullah, another giant in the journalism world, along with many other names. They were not merely writers or intellectuals; they were cultural figures who defined the radical transformation Bangladesh underwent as it transitioned from a province into an independent state after 1971.
Let me give two examples. *Bichitra* was a magazine where leftist politics was discussed openly. Yet, it was also the very magazine that printed on its cover, a pic of a young Bangladeshi woman wearing a bikini. That was around 1972-73. That was the journalism of a transition period.
My First Introduction
In early 1972, leftist politics exerted a deep influence across various educational institutions, and Dhaka University was naturally one of its epicenters. We were all involved with "Lekhak Shibir", led by Professor Ahmad Sharif of the Bangla Department at Dhaka University. Professor Serajul Islam Choudhury (SIC Sir) and Professor Abul Kasem Fazlul Haq (Fazlu Sir) were two other names that readily come to mind.
The organisation was run by Shahriar Kabir Bhai, who was politically affiliated with Badruddin Umar's political group. My close friend Abrar Chowdhury-who was intimately connected with them at that time-took me to the Bichitra office one day. I was introduced to the epicenter of new Bangladesh that was progressive, pioneering, bold, and refined in the fires of war.
Shahadat Bhai had already become an icon by then and soon would become a legend. He was not only a freedom fighter from Sector 2 and a close associate of Khaled Mosharraf, but he was also a brother to all freedom fighters. But if there was one freedom fighter to whom he was truly close, it was Dr. Zafrullah Chowdhury. I often heard him discuss many of the plans behind the groundbreaking growth of "Gonoshasthaya" in that very office.
The two often sat in Shahadat Bhai's small office, brainstorming. It was there that he initiated the "Health for All" movement along with several other projects.
I also recall a poignant moment that occurred a few years after independence-following the November 7 coup in which Khaled Mosharraf was killed. His body and Major Haider's body lay unclaimed in the morgue. It was Zafrullah Bhai who went there to receive their bodies and arrange their burial.
I watched the two of them speaking about the incident in hushed, solemn tones, their faces pale with grief. Standing there with a heavy heart, I listened to them discuss that historical turning point-the kind of rapid historical shifts we have now become so accustomed to witnessing every day.
Historical Meaning and Responsibility
Today's environment naturally feels suffocating under the weight of many turmoil, conflicts and ups and downs for so many years, but the air back then was fresh and crisp. Shahadat Bhai used to say, "Open the windows as wide as you can. Always let the air flow in."
He said this in response to various criticisms directed against the personal classified ads published in the magazine. Understandably, men used those columns to build friendships with women, which sparked outrage and protests among some people. But the Dhaka and Bangladesh of that era were far more tolerant, and so the column continued regularly without too much hassle.
Fashion shows were covered regularly, and women from middle-class to upper-class families posed as models. Whomever you might think of-if they were smart and attractive, chances were that they found a place on the cover pages of "Bichitra". They wore very tasteful attire, and frankly, "Bichitra" brought an aura of elegance to the entire concept of fashion. One could distinctly hear the walls of conservatism silently crumbling away. Change was in the air.
'71, Tokai, and the Poets
The history of 1971 was given prominent focus, and for that reason, *Bichitra* reported on almost all the icons of the Liberation War. This was not merely because the Editor himself was a freedom fighter, but because most people felt that way at the time-a sharp contrast to today's conflict-ridden atmosphere.
Poetry was also immensely popular, and Bichitra turned these poets into celebrities. Whether it was Helal Hafiz, Safdar Siddiqui, or anyone else, Bichitra covered them all.
Yet, its most iconic creation was not a living person, but a cartoon character drawn by Rafiqun Nabi (Ranabi) named "Tokai"-a street kid which survives to this day, not just as the first fully realised cartoon character, but as the most recognised one.
The photographer was Al-Mazi, who probably contributed more than anyone else to elevating press photography into an art form. Chinmoy Mutsuddi, Chandan Sarkar, Sajjad Kadir -the list of names goes on.
His Greatest Achievement
What was Shahadat Bhai's greatest achievement or contribution? I believe he was not merely a team player; he built a team and led it holding the torch in his own hands. But I believe, more than that, he did not just build an office team, he created a community of supporters from among us who felt like an extension of that team and embraced its vision.
Because Bichitra did not merely represent the ideas, thoughts, and inclinations of our generation-it became the representative itself. And since Bangladesh became an independent state, perhaps no other media outlet has been able to fulfil this role or earn such a recognition.
I will remember him with deep respect and affection, and remain grateful for his affection and mentorship. My first essay and research article on history, my first short story, and my first novel-all were published there. I owe more to this publication than to any other. Many other young people of that time would say the same.
It gave us a spiritual bond, a sense of togetherness, and pride. And Shahadat Bhai-who had a curious quirk of endlessly tearing up sheets from brown newsprint pads, was an Editor and organiser who guided us through it all.
There is no farewell for you, Shahadat Bhai, because you are always right there-sitting in your office eternally, smiling gently, and planning the next issue.
