Syed Jamil Ahmed
Biographic Data
| ID | 7523740 |
|---|---|
| NAME | Syed Jamil Ahmed |
| GIVEN NAMES | Syed Jamil |
| FAMILY NAME | Ahmed |
| SIGNATURE | AHMED S J |
| AFFILIATIONS | Syed Jamil Ahmed is a director based in Bangladesh, and Professor at the Department of Theatre and Music, University of Dhaka. He has received two Fulbright fellowships (1990, 2005), has published essays in Research in Drama Education, Asian Theatre Journal, TDR, Inter-Asia Cultural Studies, South Asian Popular Culture, and New Theatre Quarterly, and has taught at Antioch College, USA (1990), King Alfred's College, UK (2002), and San Francisco City College, USA (2005). His book-length publications in... |
| VERIFIED | No |
| TOTAL WORKS | 11 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 10 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 2002 |
| LATEST PUBLICATION YEAR | 2016 |
| H-INDEX | 0 |
African Theatre 15
Still wishing for a world without ‘theatre for development’? A dialogue on theatre, poverty and inequality
Dear Jamil,Thank you for agreeing to take part in a dialogue inspired by your research article ‘Wishing for a World Without “Theatre for Development”: Demystifying the Case of Bangladesh’ (Ahmed 20
Revisiting a dream-site of liberation
In 1984, a group of urban theatre activists of Bangladesh rejected their role as ‘traditional intellectuals’, and sought to join the subaltern classes as ‘ideologues in action’ by mobilising their knowledge and expertise on theatre in a manner that would animate those classes entwined in the exploitive infrastructure of the rural areas. This initiative, named Mukta Natak (translated as ‘Liberated Theatre’), was intended to generate a ‘Theatre by …
Mimicry and Counter-Discourse on the Palimpsest of Nagori
Mimicry and Counter-Discourse on the Palimpsest of Nagori:The Play of Saint Anthony and His Double, Sādhu Āntoni Syed Jamil Ahmed Hardly half a kilometer southeast from the Church of Saint Nicholas Tolentino at Nagori, thirty-five kilometers northeast from Daka, Bangladesh, stands the Chapel of Saint Anthony at Panjora. Here, on Friday, 6 February 2009, nearly seventy thousand people gathered to pay homage to the most important saint for the Bang…
Performing and Supplicating Mānik Pīr
Rituals and performances supplicating Mānik Pīr, a Sufi culture-hero venerated in isolated rural pockets of western Bangladesh and southern West Bengal (India), function as “infrapolitics” of the subaltern classes in the domain of “popular Islam.” A substantial segment of popular (“folk”) culture of the subaltern classes articulates disguised ideological insubordination critiquing the dominant classes
Points and Practices
Negotiating ‘theatre (in place/instead) of war’
The small string of words ‘in place of’ is problematic because if it denotes ‘instead of’ then it is questionable whether conflicts and wars can ever be abrogated so long as there are relations of power. However, but if the string denotes a location, i.e. a war zone, then it is not inconsequential that we justify our eagerness for knowledge on performances of war zones when the war machines of the North are in business in the South in this monopo…
Hegemony, Resistance, and Subaltern Silence
June 01 2006 Hegemony, Resistance, and Subaltern Silence: Lessons from Indigenous Performances of Bangladesh Syed Jamil Ahmed Syed Jamil Ahmed Syed Jamil Ahmed is a director based in Bangladesh, and a Professor at the Department of Theatre and Music, University of Dhaka. Search for other works by this author on: This Site Google Scholar Author and Article Information Syed Jamil Ahmed Syed Jamil Ahmed is a director based in Bangladesh, and a Profe…
The ‘Non‐dit’ in the Zenana
This essay recognizes that representations of the ‘Muslim woman’ as the Othered ‘object’ of the ‘Western’ gaze and the domesticated ‘object’ which the Islamic apologists strive hard to defend, are both constructions and false antitheses of each other. It seeks not the ‘truth’ regarding the Muslim women in the world of social reality but to examine how various representations of the women are constructed and to what effects and consequences these …
Caryā Nŗtya of Nepal When “Becoming the Character” in Asian Performance Is Nonduality in “Quintessence of Void”
Taking issue with Phillip Zarrilli's influential 1990 essay on what it means to “become the character” in Asian performance, Ahmed argues that Zarrilli's construct is problematic when viewed from a Buddhist perspective. Ahmed's case study is Caryā Nŗtya, a ritual dance performed near Kathmandu in Nepal for over a thousand years
Wishing for a World without 'Theatre for Development'
The author argues that Theatre for Development in Bangladesh practised by Non-Governmental Organisations, which is almost entirely funded by international donor organisations, serves globalisation in the name of poverty alleviation. By examining the case of two NGOs, Proshika and Bangladesh Institute of Theatre Arts, he shows that the NGOs are caught in the contradiction of either empire building for selfsustenance or serving as pseudo-mercenarie…
No prominent works on this page.
Wishing for a World without 'Theatre for Development'
The author argues that Theatre for Development in Bangladesh practised by Non-Governmental Organisations, which is almost entirely funded by international donor organisations, serves globalisation in the name of poverty alleviation. By examining the case of two NGOs, Proshika and Bangladesh Institute of Theatre Arts, he shows that the NGOs are caught in the contradiction of either empire building for selfsustenance or serving as pseudo-mercenarie…
Caryā Nŗtya of Nepal When “Becoming the Character” in Asian Performance Is Nonduality in “Quintessence of Void”
Taking issue with Phillip Zarrilli's influential 1990 essay on what it means to “become the character” in Asian performance, Ahmed argues that Zarrilli's construct is problematic when viewed from a Buddhist perspective. Ahmed's case study is Caryā Nŗtya, a ritual dance performed near Kathmandu in Nepal for over a thousand years
Negotiating ‘theatre (in place/instead) of war’
The small string of words ‘in place of’ is problematic because if it denotes ‘instead of’ then it is questionable whether conflicts and wars can ever be abrogated so long as there are relations of power. However, but if the string denotes a location, i.e. a war zone, then it is not inconsequential that we justify our eagerness for knowledge on performances of war zones when the war machines of the North are in business in the South in this monopo…
Hegemony, Resistance, and Subaltern Silence
June 01 2006 Hegemony, Resistance, and Subaltern Silence: Lessons from Indigenous Performances of Bangladesh Syed Jamil Ahmed Syed Jamil Ahmed Syed Jamil Ahmed is a director based in Bangladesh, and a Professor at the Department of Theatre and Music, University of Dhaka. Search for other works by this author on: This Site Google Scholar Author and Article Information Syed Jamil Ahmed Syed Jamil Ahmed is a director based in Bangladesh, and a Profe…
The ‘Non‐dit’ in the Zenana
This essay recognizes that representations of the ‘Muslim woman’ as the Othered ‘object’ of the ‘Western’ gaze and the domesticated ‘object’ which the Islamic apologists strive hard to defend, are both constructions and false antitheses of each other. It seeks not the ‘truth’ regarding the Muslim women in the world of social reality but to examine how various representations of the women are constructed and to what effects and consequences these …
Points and Practices
Performing and Supplicating Mānik Pīr
Rituals and performances supplicating Mānik Pīr, a Sufi culture-hero venerated in isolated rural pockets of western Bangladesh and southern West Bengal (India), function as “infrapolitics” of the subaltern classes in the domain of “popular Islam.” A substantial segment of popular (“folk”) culture of the subaltern classes articulates disguised ideological insubordination critiquing the dominant classes
Mimicry and Counter-Discourse on the Palimpsest of Nagori
Mimicry and Counter-Discourse on the Palimpsest of Nagori:The Play of Saint Anthony and His Double, Sādhu Āntoni Syed Jamil Ahmed Hardly half a kilometer southeast from the Church of Saint Nicholas Tolentino at Nagori, thirty-five kilometers northeast from Daka, Bangladesh, stands the Chapel of Saint Anthony at Panjora. Here, on Friday, 6 February 2009, nearly seventy thousand people gathered to pay homage to the most important saint for the Bang…
Revisiting a dream-site of liberation
In 1984, a group of urban theatre activists of Bangladesh rejected their role as ‘traditional intellectuals’, and sought to join the subaltern classes as ‘ideologues in action’ by mobilising their knowledge and expertise on theatre in a manner that would animate those classes entwined in the exploitive infrastructure of the rural areas. This initiative, named Mukta Natak (translated as ‘Liberated Theatre’), was intended to generate a ‘Theatre by …
Still wishing for a world without ‘theatre for development’? A dialogue on theatre, poverty and inequality
Dear Jamil,Thank you for agreeing to take part in a dialogue inspired by your research article ‘Wishing for a World Without “Theatre for Development”: Demystifying the Case of Bangladesh’ (Ahmed 20
African Theatre 15
Sociology (9 works) · Art (8 works) · Law (6 works) · Political science (6 works) · Theatre and Performance Studies (6 works) · Philosophy (5 works) · Computer Science (4 works) · History (4 works) · Visual arts (4 works) · Aesthetics (3 works)