‘Jatiya Pitha Utsab-1426’ (National Rice Cake Festival) began on the premises of Bangladesh Shilpakala Academy (BSA) in the capital on Sunday.
Jatiya Pitha Utsab Udjapan Parishad (Committee for National Cake Festival Celebration), alongside BSA, have jointly organised the festival to delight the city dwellers with the unbeatable tastes of traditional pithas (rice cakes).
Started back in January, 2008 for the first time- this year marks the 13th edition of this annual festival.
State Minister for Cultural Affairs K M Khalid inaugurated the 10-day festival as the Chief Guest. Honorary President of the International Theatre Institute (ITI) Ramendu Majumdar, ‘Mancha Sarathi’-famed veteran theatre activist Ataur Rahman, Bangladesh Nritya Shilpi Sangstha President Minu Haque attended the inaugural ceremony as the special guests, among others.
Presided over by the BSA DG Liaquat Ali Lucky- who filled the role of Convenor of the committee overlooking the arrangement of the festival, the inauguration ceremony was also attended by the committee’s president, M Hamid, who was the main speaker at the event, while member secretary Khandakar Shah Alam and BSA Secretary Badrul Anam Bhuiyan delivered welcome speeches.
“The winter season in Bangladesh is unimaginable without Pitha- a food item which gradually has become a part of the urban life as well in recent years. The Ministry of Cultural Affairs is glad to be associated with this festival and the organizers deserve applause for regularly arranging the yearly festival,” K M Khalid said in his speech.
Following the inauguration, a cultural programme was arranged where artistes entertained the audience with traditional songs, dance recitals and recitation. The cultural programme will continue every evening for the length of the festival.
The Ministry of Cultural Affairs and Square Food & Beverage Limited (SFBL) are jointly sponsoring this year’s festival.
Generally held in January every year, the 13th edition had to be delayed because of the DNCC and DSCC Elections, said the organizers.
With a total of 50 stalls representing 40 districts of Bangladesh, the 13th edition of this annual festival featuring approximately 200 types of Pithas (cakes) at BSA premises from 3 pm to 9 pm till March 3, 2020.
Country’s leading cultural organization Bangladesh Shilpakala Academy (BSA) observed the 46th anniversary of its founding on Wednesday.
Marking the prestigious occasion, BSA organized several programmes throughout the day.
A special exhibition was inaugurated from 3pm at the National Art Gallery's first floor, featuring all the notable activities under all departments and sections of BSA since 1974.
500 Students who are enrolled in 14 departments of BSA including flute, violin, sitar, sarod, staff notation and piano, Kathak dance, Bharatanatyam, Gauria, Odissi and the rest showcased their talents through attending mock classes in BSA field from 4 pm onwards, as part of the special segment titled 'Sangskritir Pathshala' (School of Culture).
The founding anniversary seminar took place at the Academy's 'Nandan Mancha' on 5.30 pm, joined by the Parliamentary standing committee of the Ministry of Cultural Affairs member Asim Kumar Ukil as the chief guest. Presided over by the Director General of BSA, Liaquat Ali Lucky, the seminar was also joined by BSA Secretary Badrul Anam Bhuiyan.
A musical event took place followeding the seminar, featuring performers of BSA and popular band Spandan.
Founded on February 19, 1974 by the Father of the Nation Bangabandhu Sheikh Mujibur Rahman, BSA has been fostering and promoting the arts and culture of Bangladesh ever since its foundation.
Being the only national institution of cultural practice in Bangladesh, BSA was established by a special law in order to study and develop the arts in all the districts and upazilas of Bangladesh. Dr Mustafa Noor-Ul- Islam was the first Director General of the Academy.
Currently there are six departments in the Academy- the department of Arts, department of Drama and Film, department of Music, Dance and Recreation, department of Research and Publication, department of Training and department of Production. All these departments are directed by six directors, the highest executive officer of the Academy is the Director General, appointed by the Government. The current Director General Liaquat Ali Lucky has been operating his duties since April 2011.
In order to spread the cultural activities, the District Shilpakala Academy has been established in five districts of the country. In each district there is a Cultural Officer who runs the activities of the District Art Academy. Currently its activities extend to the upazila.
With a state-of-the-art gallery building, a dedicated theater building, a dedicated music, dance and recitation building and a training building in the compound- BSA frequently organizes seminars and ceremonies, along with cultural events such as regular theatrical productions, musical recitations and dance performances, painting or photography exhibitions and a lot of other exciting, essential programmes in the service of arts and culture.
Dhaka, Feb 17 (UNB) - German cultural organization Goethe-Institut Bangladesh, in cooperation with the International Film Initiative of Bangladesh (IFIB), organized the screening of filmmaker Mrittika Goon’s debut film ‘Kalo Megher Vela’ (The Raft of Clouds) on Sunday, February 16 evening at the Institut auditorium in Dhanmondi of the capital.
International Film Initiative of Bangladesh (IFIB) representative Lubna Sharmin introduced the filmmaker Mrittika Goon, along with film critic, journalist and the moderator of the Q&A discussion session Sadia Khalid, to the audience at the screening.
While sharing her experience on filmmaking as a debut director, Mrittika Goon said, “Kalo megher vela is a philosophical fiction and an adaptation of my father, poet Nirmalendu Goon’s novel of the same title.”
She further explained: “I wanted to show the chaotic aspects of the city life through protagonist Dukhu’s struggling slum life who flees the city and takes asylum in nature to escape the abuse of his stepfather, leaving behind his beloved mother. There he discovers his life’s philosophy: that the path to freedom is blocked by emotional attachments.”
Mrittika summed up the message she tried to express through her debut venture in the following words: “In order to listen to the call of the soul, one must release themselves from the bondage of love.”
Mrittika Goon claims that the story of 'Kalo Megher Bhela' grabbed her attention in her very childhood when she had first read it and eventually got lost in her imaginary world surrounded by the story. Since then, she had been nurturing her desire to make a film on it and in 2015 she got her chance as the government approved grant for the film.
The screenplay of the movie was done by the late Faruk Hossain. Maximum of the shooting was done in Nirmalendu Goon’s ancestral village Barhatta in Netrokona district and the rest was shot in Kamalapur Railway Station and Tejgaon.
The screening was jointly organized by Goethe-Institut and IFIB as part of their monthly film screening and discussion series “Through Her Eyes - A space to watch and discuss films with women filmmakers of Bangladesh”.
Thanks to modern technology and some expert detective work, a nearly 400-year-old painting that had long been attributed to an unknown artist in Rembrandt's workshop has now been judged to have been a work of the Dutch master himself.
For decades, the Allentown Art Museum displayed an oil-on-oak panel painting called "Portrait of a Young Woman" and credited it to "Studio of Rembrandt." Two years ago, the painting was sent to New York University for conservation and cleaning.
There, conservators began removing layers of overpainting and dark, thick varnish that had been added over centuries — and they began to suspect Rembrandt himself was responsible for the original, delicate brushwork underneath.
"Our painting had numerous layers of varnish and that really obscured what you could see of the original brushwork, as well as the original color," said Elaine Mehalakes, vice president of curatorial affairs at the Allentown Art Museum.
Conservators used a variety of tools, including X-ray, infrared and electron microscopy, to bolster the case that it was the work of one of the most important and revered artists in history.
The scientific analysis "showed brushwork, and a liveliness to that brushwork, that is quite consistent with other works by Rembrandt," said Shan Kuang, a conservator at New York University's Institute of Fine Arts who restored "Portrait of a Young Woman."
Outside experts who examined the 1632 painting after the completion of its two-year restoration concurred with the NYU assessment that it's an authentic Rembrandt.
"We're very thrilled and excited," Mehalakes said. "The painting has this incredible glow to it now that it just didn't have before. You can really connect with the portrait in the way I think the artist meant you to."
When "Portrait of a Young Woman" was bequeathed to the museum in 1961, it was considered to be a Rembrandt. About a decade later, a group of experts determined that it had been painted by one of his assistants. Such changes in attribution are not unusual: Over the centuries, as many as 688 and as few as 265 paintings have been credited to the artist, according to Mehalakes.
The museum has not had the painting appraised — and has no intention of selling it — but authenticated works by Rembrandt have fetched tens of millions of dollars.
The painting, currently in the museum's vault, will go on public display starting June 7.
The 5th edition of Dhaka Art Summit: Seismic Movements (DAS 2020), concluded Saturday at the National Art Gallery of Bangladesh Shilpakala Academy (BSA).
The artistic extravaganza, organised by Samdani Art Foundation (SAF) in association with the Ministry of Cultural Affairs and Bangladesh Shilpakala Academy (BSA), has enthralled the visitors since its opening on February 7.
Having quickly established its place in the art calendar of the region , the brainchild of SAF Co-founders Rajeeb and Nadia Samdani, curated by the summit’s Chief Curator Diana Campbell Betancourt- the 5th summit empowered the art-lovers to explore various forms of art from all around the world under one roof.
More than 500 artists, sculptors, curators, critics, collectors, architects and art professionals from over 44 different countries participated in this rendezvous of modern and contemporary art. Forged through alliances across Africa, Australia, South and Southeast Asia, and also extending into Europe and the US, the extravagant event also featured thought-provoking performance arts, videos, panel discussions, symposia, puppet shows and more.
According to Nadia Samdani, this year’s summit theme has been ‘Seismic Movements’ where different artworks related to geological movements, colonial movements, independence movement, social movements had been on display and enthralled the visitors, throughout the summit. Also, DAS – 2020 had been 'plastic-free’ and no air-conditioning was used in the summit.
A very special exhibition titled ‘Lighting the Fire of Freedom’, an initiative of the Centre for Research and Information (CRI), ICT Division, in collaboration with BSA and the Ministry of Cultural Affairs, paved tribute to the Father of the Nation, Bangabandhu Sheikh Mujibur Rahman on his birth centenary. Curated by Ruxmini Reckvana Q Choudhury, Assistant Curator of SAF- the exhibition narrated the journey of Bangabandhu (1920 – 1975), chronologically; through a rich variety of archival and contemporary materials including personal photographs, newspapers, videos and artworks. The exhibition treasures historic moments, dating back to the Bengal Presidency under British Raj, the East Pakistan regime, and finally Bangladesh.
The 5th edition of the Samdani Art Award curated by Philippe Pirotte and in partnership with the Goethe-Institut of Dhaka, provided artists the opportunity to create new work for DAS 2020 and to be supported in a residency at Srihatta. Soma Surovi Jannat received the Samdani Art Award this year, for her work “Into the Yarn, Out in the One” (pen on plywood, wood and wall, 2019-2020). The other shortlisted artists were: Ariful Kabir, Ashfika Rahman, Faiham Ebna Sharif, Habiba Nowrose, Najmun Nahar Keya, Palash Bhattacharjee, Sounak Das, Sumana Akter, Tahia Farhin Haque, and Zihan Karim. Breaking the convention, Promiti Hossain was respected with a special mention award for her work “Personal and Social” (2019-2020), facilitated by the Jury Board from their honorariums of the summit.
‘Roots’, curated by Dhaka based artist and educator Bishwajit Goswami, examined the transfer of knowledge by art educators who have been influential in the building of Bangladesh’s art history. The exhibition focused on the role of Bangladeshi artists in building the institutions that support artistic production in the country, from founding formal institutions like art schools (such as Zainul Abedin with the Faculty of Fine Arts, University of Dhaka and Rashid Choudhury with the Institute of Fine Arts, University of Chittagong) to informal art education outside of the capital (SM Sultan’s Shishu Swarga and Charupith Jashore).
The 6th edition of Dhaka Art Summit is scheduled to lift its curtain on 2022.