United News of Bangladesh

The 20th solo exhibition by Arham ul Huq Chowdhury, titled 'Decorated Deeds: Bangla Calligraphy on Antique Documents', is currently ongoing at La Galerie, Alliance Française de Dhaka (AFD) in the capital’s Dhanmondi. The latest exhibition of Arham's, 'Decorated Deeds', marks his 20th solo show and celebrates 30 years of his association with Alliance Française de Dhaka. Opened on the day of Pahela Baishakh (April 14), the first day of Bangla New Year — this special series features 31 Bangla calligraphy artworks rendered on rare antique documents, some dating back to the East India Company and colonial periods. In this unique body of work, Arham overlays ancient Bangla idioms and proverbs onto vintage papers, symbolically linking linguistic heritage with the tangible remnants of historical narratives—preserving both art and memory. 4th edition of Bangladesh Press Photo Contest launched at Drik "In my pursuit of various facets of arts and knowledge, I came to initiate Bangla calligraphy; going further into it, I found dimensions being added on the way," Arham said in a recent interview with UNB. "In that process of doing Bangla calligraphy, searching for age old idioms, phrases, riddles, and sayings that resonate with deeper meaning, and going further this time, I have tried adding another layer to the visual representation of the ancient words of wisdom." “In 'Decorated Deeds', Arham ul HuQ Chowdhury does not merely exhibit—he resurrects; through the marriage of antique documents and Bangla calligraphy, each work becomes a vessel of memory, a bridge between centuries, and these proverbs are not relics—they are reminders, speaking with renewed urgency about identity, wisdom, and the lived texture of language. We are proud to support this timely and timeless exhibition, which doesn’t just honor heritage—it activates it.” — ARK Reepon, Curator of the exhibition and Founder of ARTCON, told UNB. Arham is a versatile Bangladeshi artist, calligrapher, sculptor, designer, and researcher whose creative journey spans over three decades and multiple mediums. With a formal academic background in Anthropology—holding both Bachelors and Masters degrees from the University of Dhaka—his work reflects a profound engagement with culture, heritage, and the environment.

Her first panic attack came at a company-wide meeting, right before her scheduled presentation. Carolina Lasso had given many similar talks about her marketing team's accomplishments. When her name was called this time, she couldn’t speak. “I felt a knot in my throat,” Lasso said. “My head, it felt like it was inside a bubble. I couldn’t hear, I couldn’t see, and it felt like an eternity. It was just a few seconds, but it was so profound, and in a way earth-shattering to me.” Lasso was struggling after a cross-country move followed by a divorce. Her boss suggested a mental health leave, a possibility she didn’t know existed. She worried whether taking time off would affect how her team viewed her or cost her a future promotion, but in the end she did. “I’m thankful for that opportunity to take the time to heal," Lasso, 43, said. “Many people feel guilty when they take a leave of absence when it’s mental health-related. ... There is some extra weight that we carry on our shoulders, as if it had been our fault.” Despite a fear of repercussions, more adults are recognizing that stepping back from work to deal with emotional burdens or psychological conditions that get in the way of their lives is a necessary choice, one that a growing number of employers recognize. ComPsych Corp., a provider of employee mental health programs and absence management services, encourages its business clients to make the well-being of workers a priority before individuals get to a breaking point while also having processes in place for those who require leaves of absence. “Since the start of the COVID-19 pandemic, collectively we’ve just been in this constant state of turmoil,” Jennifer Birdsall, the senior clinical director at ComPysch, said. “We just have had this barrage of change and uncertainty.” Depression, anxiety and adjustment disorder, which involves excessive reactions to stress, were the top three diagnoses of employees who took mental health leaves in the past two years among clients of Alight, a Chicago-based technology company which administers leaves and benefits for large employers.   Structuring a leave A mental health leave can last weeks or months. In some cases, workers get approval to work a reduced schedule or to take short periods of time off when needed, using an approach called “intermittent leave.”   At most U.S. organizations with 50 or more employees, people can request leaves through the Family and Medical Leave Act. The federal law entitles workers with serious health conditions to paid or unpaid leaves of up to 12 weeks, depending on state and local laws. Some employers require people to use sick days or accumulated vacation days to continue receiving a paycheck while out. For longer leaves, workers can access short-term disability plans, if their employer offers one. Lasso's leave lasted six months, and included therapy and travel to India for additional treatment. She returned to her job but decided after a year to leave for good. She later launched a business to train people on fostering a more humane work culture. A mental health leave is “not only OK, but it can really unlock new possibilities once we have the time to do the work — therapy, medication, whatever it is — and have enough distance from work to be able to reconnect with ourselves,” Lasso said.    

The Bangladesh Press Photo Contest 2025 has begun at Drik for the fourth consecutive time to celebrate the professionalism, skill, and courage of the country's photojournalists.  The names of seven winners were announced at the inaugural ceremony held on Saturday evening,m at Drikpath Bhaban in Panthapath, Dhaka. The contest began on February 9 with an open call for submissions, and a total of 252 photojournalists submitted 1,310 photographs taken over the past year, covering political, economic, social, cultural, wildlife, and documentary themes.  From these, 31 photographs were selected for the exhibition, which is now open to the public. The Picture of the Year 2024 award was presented to Ashraful Alom, former photojournalist of Prothom Alo, who received a cash prize of Tk 1,00,000.  Six other photographers were awarded under three categories.  In the Politics category, Kazi Salahuddin Razu of Bonik Barta was named winner, and Dr Kumar Bishwajit of Reviewthatplace.com received an Honourable Mention.  United News of Bangladesh (UNB) Photojournalist Tahiyat Nazifa Noor's one of the nominated photographs is being exhibited in this exhibition under this particular category. In the Public Interest Journalism category, M Yousuf Tushar of Business Bangladesh was named winner, while Md Abu Noman Omit of limerickbd.comreceived an Honourable Mention.  In the Arts, Culture and Sports category, Jahir Ahammed Shakil of Image Ghor Photographic Society was declared winner, and Rashed Shumon of The Daily Star received an Honourable Mention.  Each category winner received Tk 50,000 and Honourable Mentions received Tk 10,000, along with crests and certificates. 

The first photo solo exhibition of photojournalist Sony Ramani titled 'Endangered Nature and Environment' has begun at the National Art Gallery of Bangladesh Shilpakala Academy. The 6-day exhibition features over 60 striking photographs alongside a thought-provoking video installation, offering a compelling visual narrative of Dhaka’s deepening environmental crisis. With over a decade of experience documenting Bangladesh’s socio-environmental landscape, Ramani presents an urgent and unfiltered perspective on the capital’s alarming ecological decline. “As a photojournalist documenting Bangladesh’s socio-environmental landscape for over a decade, I have witnessed firsthand the devastating impact of pollution and environmental degradation in Dhaka,” Ramani said. “My exhibition seeks to visually document these pressing issues and spark meaningful dialogue on sustainable urban development and environmental policies.” Dhaka, one of the most unliveable cities in the world, is grappling with a range of environmental challenges including air pollution, water contamination, waste mismanagement, and rapid urban sprawl. Ramani’s exhibition captures these issues through four central themes—air pollution caused by unregulated emissions, the pollution of rivers and lakes, the growing crisis of waste disposal, and the vanishing green spaces swallowed by the city’s expansion. The exhibition invites journalists, artists, activists, policymakers, and the general public to engage with these powerful visuals and reflect on the future of Dhaka’s environmental wellbeing. The exhibition will remain open to the public daily from 3 pm to 8 pm until April 24.

The fashion industry, which has always been praised for its productive and cultural contributions, has turned into one of the most environmentally damaging sectors in the world. Its impact stretches across natural resources and climates. From piling up in masses in landfills, polluting and clogging water, and making air unbreathable to destroying the balance in the earth’s resources and atmospheres, fashion waste is making life impossible on the planet. What is Fashion Waste? The term fashion waste refers to the useless materials naturally produced during the manufacturing of textile products and thrown away afterwards. It also includes worn-out clothes and other materials like wastewater, plastic waste, and toxic dyes discarded or discharged after their use. Though the term fashion waste mostly highlights the wastage related to garments and fabrics, it has more branches. Any poisonous discharge of non-biodegradable waste that pollutes energy and natural elements like earth, water, and air during or after the manufacturing and use cycle of garment products falls under the definition of fashion waste. Read more: How to Declutter Your Wardrobe to Donate Some Clothes Key Environmental Impacts of Fashion Waste . Landfill Overflow Much of the fashion waste is synthetic fibres such as polyester, nylon, and acrylic. These elements take about centuries to decompose and mix with soils or never decompose. There are many regions on the earth where miles after miles have been occupied by them. Massive piles of non-biodegradable materials are slowly eroding away, releasing poisons into the soil and air, making those regions unlivable. In 2018, the US single-handedly generated about 11.3 million tonnes of textile waste, about 66% of which ended up in landfills. Water Clog and Pollution Fashion waste contaminates water in two ways: chemically transforming its nature and clogging it with insoluble materials like plastic. Among chemical polluters, textile dyeing is the world's most common and second-largest water contaminant. Several rivers in Bangladesh and India, such as the Buriganga and Ganges, are carrying the mark of the devastating impact of textile waste. Synthetic and plastic materials cause water clogs, impeding usual flow and preventing water from passing. They are the primary reason for clogged drains and sewerage. Synthetic clothes are also known to release microplastics into water during washing or when dumped in a water body. These microplastics are invisible, insoluble fibres that travel with river currents and fall into oceans, where they accumulate in large amounts and are consumed by marine life.  Read more: How to Choose the Best Fabric for Your Suit Greenhouse Gas Emissions Dumped clothing waste in landfills doesn’t only pile up and occupy spaces; during decomposition, it releases methane, one of the primary catalysts of the global greenhouse effect and about 25 times more potent than CO2. Studies have found the fashion manufacturing industry to be highly energy-intensive. To manufacture a single shirt, about 2,700 litres of water are needed, and 2.1 kg of CO₂ is emitted. A pair of jeans produces 33.4 kg of CO₂ in their cotton cultivation and dyeing phases. At the current production acceleration rate in the fashion industry, the emission rate will increase by about 50% by 2030 without interference from regulatory bodies. Resource Depletion The fashion industry is one of the most resource-depleting sectors. For example, cotton covers around 2.5% of the world’s farmland and consumes about 24% of all insecticides and 11% of pesticides. That’s a huge environmental cost for a single crop. Then there’s polyester, the most common fabric in today’s clothing, found in about 60% of garments. It’s made from crude oil, tying fast fashion directly to fossil fuel depletion. Read more: Personal Grooming Tips and Tricks for Better Life and Career The impact doesn’t stop at raw materials. The dyeing and finishing stages of textile production are some of the most chemically intensive and responsible for nearly 20% of global industrial water pollution. Around 43 million tonnes of chemicals are poured into the process each year. 

Starting Friday, Venice is reintroducing its day-tripper fee for a second consecutive year, aiming to address the pressures of overtourism that once jeopardized its status as a UNESCO World Heritage site. UNESCO ultimately decided not to list Venice among endangered heritage sites after the city announced this tourist tax. Still, critics argue that the fee hasn’t significantly curbed the influx of visitors, even during peak times. Here’s a breakdown of how Venice is confronting overtourism through this initiative: This is the fee non-overnight visitors must pay to access Venice’s historic center. Those who register at least three days in advance pay €5, the same as last year’s pilot rate. Last-minute visitors, however, are charged €10. Entry points such as the Santa Lucia train station, Piazzale Roma bus terminal, and Tronchetto parking garage require QR code verification between 8:30 a.m. and 4 p.m. 49 DaysThis is the number of days in 2025 when the access fee applies — mainly weekends and holidays between April 18 and July 27. That’s an increase from 29 days in 2024. The updated schedule now includes entire holiday weeks and expands the weekend period to start on Fridays. €2.4 MillionVenice collected €2.4 million in 2024 from the tax, though implementation costs reached €2.7 million, resulting in a shortfall. This year, budget official Michele Zuin expects a €1–1.5 million surplus, which will help fund essential services like waste collection. 450,000 VisitorsThat’s how many day-trippers paid the entry fee in 2024. On Friday alone, 12,744 visitors paid — including 7,173 at the higher €10 rate. So far this year, 77,000 people have registered to visit, with another 117,000 granted exemptions, including local residents, workers, students, and those with property in Venice or in the surrounding Veneto region. 75,000This is the average number of daily visitors over the first 11 days of the 2024 fee period — roughly 10,000 more per day than the highest holiday peaks recorded the year before. City councilor Giovanni Andrea Martini, who opposes the measure, believes this proves the tax isn’t deterring tourists. 48,283 ResidentsThat’s the current population of Venice’s historic center, a dramatic drop from 174,000 in 1951. As industries declined and modern amenities became more accessible on the mainland, many Venetians relocated. Activists also blame tourism’s dominance for the decline, as basic services like grocery stores and medical facilities have dwindled. 51,129 Tourist BedsAs of April, there are more places for tourists to stay in Venice’s historic center than there are residents — including over 12,000 beds in unregulated short-term rentals, according to the activist group Ocio. Overnight visitors pay a separate lodging tax and are exempt from the day-tripper fee. 25–30 Million Annual VisitorsCell phone tracking data from Venice’s Smart Control Room shows that between 25 and 30 million people visit the city each year, including both day-trippers and overnight guests.

Celebrating the Bengali New Year 1432 with elegance and cultural heritage, the three-day exhibition 'Crafting The Many Threads of Cultural Textiles' by celebrated designer Maheen Khan was inaugurated on Friday at EDGE Gallery in the capital's Gulshan.  The event presented by United Commercial Bank PLC (UCB) and powered by Mutual Trust Bank Limited (MTB) is showcasing approximately one hundred collections of the country's eminent fashion designer Maheen Khan. Curated by prominent fashion designer Saibal Saha, the exhibition is a blend of heritage and innovation, showcasing handcrafted sarees, Nakshi Kantha, Islamic motifs, Rajshahi silk, and contemporary embroidery work.  This vibrant showcase of Maheen Khan's versatile works demonstrates how traditional techniques can evolve into a modern art form. The opening ceremony was held in two sessions in morning and evening.  Adviser to the Ministry of Fisheries and Livestock Farida Akhtar inaugurated the exhibition in the morning and spoke about the deep connection between nature and craft . Emphasizing the importance of preserving traditional motifs she encouraged artisans to continue drawing inspiration from their environment. "I encourage you to delve deeper into traditional local motifs like different types of fish, as they reflect our cultural identity. Celebrating Baishakh through crafts, rather than limiting it to rallies, offers a richer and more lasting way to preserve and honor our heritage," Adviser Farida Akhtar said. São Paulo celebrates city art museum’s new Renoir exhibit

From the outside, it looks like any other New England church building: a boxy, white structure with a single steeple surrounded by an old stone wall, set against rolling hills and pine forest. Inside, though, the South Solon Meeting House has a secret unknown even to some who drive through the tiny Maine town every day. The interior of the building is covered in 70-year-old fresco murals that encourage some in the state's art community to describe it as “Maine's Sistine Chapel.” The murals were painted by artists in the 1950s and, while they have long been appreciated by visitors, the recent creation of a website dedicated to them by students at Colby College in Waterville, Maine, has generated new interest in the paintings. Véronique Plesch, a Colby professor of art, hopes the building inspires more appreciation of frescoes. “I fell in love with the place, because I have studies frescoes all my life,” said Plesch, who is a member of the board of the historical society that cares for the meeting house. She added that the paintings should stay in public places and not be in private institutions. The meeting house was built in 1842 and hosted church services until the 1940s, though there were periods of closure, such as times of war. A decade later, Margaret Day Blake found the building in a state of disuse and the former student at the nearby Skowhegan School of Painting and Sculpture put out a call for young artists to paint frescoes under the school's supervision in 1951. The artists were given creative freedom and told there would be no limits to subject matter, but that Biblical scenes would “offer rich and suitable” imagery. The interior was covered in such scenes from 1952 to 1956 and the walls remain adorned with frescoes, including one that references Leonardo da Vinci's “The Last Supper." Another fresco depicts the binding of Isaac, in which a hooded Abraham prepares to sacrifice his son on God's orders. The Great Flood is depicted as it was by Michelangelo at the Sistine Chapel at the Vatican. Two of the 13 artists — Sigmund Abeles of New York City and Sidney Hurwitz of Newton, Massachusetts — both in their 90s, are still living. Both spoke fondly about their time at the meeting house. “We would go out there and paint and then take a lunch break in the cemetery behind the building. It was a very idyllic time,” Hurwitz said. “I very much enjoyed it.” Guatemalan artisans handcraft velvet robes for Holy Week Celebrations Today, the meeting house, which is open to the public without locks on its doors, serves as a community gathering and performance space. Many of its old features, including box pews made for smaller people of a different time, are still intact. Abeles recalled painting the scene of Jacob wrestling with the angel from the Book of Genesis. “It's a very, very special place, and it was a unique experience" to work on the frescoes, Abeles said. On a recent Sunday morning, Plesch gave a lecture at the meeting house before a group of members of the Maine Art Education Association as part of the group's spring conference. Long ago, attendants of the building might have been preparing for an Easter service, but on this day it was full of teachers fascinated by the frescoes. Suzanne Goulet, an art teacher at a nearby high school, said she was previously aware of the frescoes and confessed she had peeked into the windows of the old building, adding that it's great the paintings are still inspiring art lovers decades later. “The inspiration is that we bring it back to our students,” Goulet said.  

In workshops across Guatemala, artisans have spent months meticulously hand-stitching intricate garments that will be unveiled this week during Holy Week processions throughout the country and beyond. These ornate velvet cloaks, embroidered with gold thread, will adorn wooden statues of the Virgin Mary and Jesus Christ. Carried by devotees along cobbled streets lined with thousands of spectators, the figures play a central role in the country’s Holy Week traditions. Palm Sunday marks the Christian celebration of Jesus’ triumphant arrival in Jerusalem, where crowds welcomed him with palm branches, as described in the Bible. Holy Week, the most sacred time in the Christian calendar, also includes the Good Friday reenactment of Jesus’ crucifixion and culminates in the Easter celebration of his resurrection. At the María Auxiliadora workshop, located about 41 kilometers southwest of Guatemala City, 28 artisans — mostly women — can be seen stitching by hand. They work with deep velvet fabrics, embroidering them with intricate gold floral patterns under the shadow of the dormant Volcano of Water. Some cloaks, such as those made for the Virgin Mary figures, can span roughly 4 square yards (3 meters) and weigh over 50 pounds. To prevent damage to the statues, a metal structure is used to support the garments. Workshop owner Alejandro Juárez Toledo, who has dedicated 26 years to this craft, still becomes emotional when he sees the cloaks finally draped over the figures that will be paraded through the streets. “The most meaningful moment for me is when the embroidery is sewn onto the fabric — that’s when the emotional connection with the client begins. The whole experience becomes more fulfilling,” he said. His team’s handmade robes have been used not only in Guatemala but also in countries such as El Salvador, Honduras, Costa Rica, and Panama. Guatemala’s Holy Week celebrations are known for their grandeur. In 2022, UNESCO recognized them as part of the Intangible Cultural Heritage of Humanity. Walter Gutiérrez, a history professor at San Carlos University, emphasized the importance of the events: “These processions represent the essence of Guatemala — culturally, spiritually, and traditionally.”

Bangladesh, a land rich in culture and history, proudly hosts several UNESCO World Heritage Sites that reflect its diverse heritage and natural wonders. From the serene Sundarbans—the world’s largest mangrove forest—to the ancient architectural marvels of Bagerhat and Paharpur, these sites are globally recognised for their cultural and ecological significance.  Each heritage site tells a unique story of the country’s past, offering a glimpse into its spiritual, artistic, and environmental legacy. As tourism grows and conservation becomes crucial, these treasures not only attract global admiration but also highlight the importance of preserving history for future generations.  List of World UNESCO Heritage Sites in Bangladesh Here is a closer look at Bangladesh’s iconic UNESCO World Heritage Sites.  Historic Mosque City of Bagerhat Located in the Bagerhat District in the southwestern region of Bangladesh, the Historic Mosque City of Bagerhat is one of the country's most treasured UNESCO World Heritage Sites. Recognised in 1985 under UNESCO's cultural heritage list, this ancient city offers a fascinating glimpse into the Islamic architectural legacy of the Bengal Sultanate era.  Originally known as Khalifatabad, the city was founded in the 15th century by a revered Turkic general and Sufi saint, Ulugh Khan Jahan, who was appointed governor by Sultan Mahmud Shah. Spread across nearly 50 square kilometres, the city flourished along the banks of the Bhairab River near the edge of the Sundarbans and became an urban masterpiece of its time. Read more: Top 15 Heritage Sites of Bangladesh Bagerhat is especially renowned for its incredible brick architecture, with the iconic Sixty Dome Mosque (Shat Gombuj Masjid) standing as the centrepiece. Built using baked bricks, the mosque features 77 domes supported by 60 stone pillars and showcases a distinctive blend of Persian, Arab, and Bengali architectural influences. Beyond its religious function, it also served as a madrasa and assembly hall.