United News of Bangladesh

The Indian Council for Cultural Relations (ICCR) celebrated its 75th anniversary on Wednesday, marking a milestone in cultural diplomacy and its enduring role in strengthening the India-Bangladesh relationship through vibrant cultural exchange. To commemorate the occasion, the Indian Cultural Centre, under the High Commission of India in Dhaka, hosted a celebratory event featuring traditional performances and reflections on the legacy of the ICCR. Speaking at the event, Deputy High Commissioner of India in Dhaka, Shri Pawan Badhe, said the anniversary not only celebrates ICCR’s journey since its inception in 1950 but also highlights the deep-rooted cultural ties between India and Bangladesh. “The occasion not only celebrates ICCR’s legacy but also reflects the shared cultural heritage and enduring people-to-people ties between India and Bangladesh,” he said. Since its foundation, ICCR has played a key role in promoting India’s cultural heritage abroad through a wide range of artistic, educational, and cultural initiatives. In Bangladesh, the Indira Gandhi Cultural Centre (IGCC) was established in Dhanmondi in 2011, followed by the Indian Cultural Centre in Gulshan in 2021. Over the years, these centres have hosted numerous programs including classical dance and music performances, literary events, film screenings, exhibitions, and workshops, contributing to deeper artistic collaboration between the two nations. Mangal Shobhajatra may get a new name: Farooki Wednesday’s event featured a special performance of 'Lai Haraoba' by members of the Manipuri community from Sylhet, trained by Indian experts. The performance was presented as a symbol of shared heritage and ICCR’s commitment to preserving traditional art forms and empowering local communities. IGCC students also presented captivating performances in Kathak, Bharatanatyam, and Hindustani Classical Music, showcasing the cultural vibrancy nurtured through the Centre’s programs. Beyond cultural engagement, ICCR also fosters educational ties by offering over 500 scholarships annually to Bangladeshi students pursuing higher studies in India—further strengthening the academic and people-to-people connections between the neighbouring countries. Dignitaries, artistes, students and cultural enthusiasts attended the event.

At Hong Kong’s Art Basel, artist Chow Chun-fai’s latest works transport viewers back to a defining moment in the city’s history—the 1997 handover from British to Chinese rule. His paintings, displayed at the same venue where the transition took place, revisit a time when Hong Kongers took pride in their city’s vibrancy and openness. That era has since taken a drastic turn. China’s imposition of a national security law in 2020 has effectively silenced dissent, prompting many young professionals and artists to emigrate. However, Chow has remained in Hong Kong, continuing to document his home despite political uncertainty. Art as a Chronicle of ChangeChow, widely recognized for his thought-provoking recreations of classic movie scenes with bilingual subtitles, presents a new collection that reflects on key moments in Hong Kong’s recent history. His paintings at Art Basel revisit major events, including the 1997 handover, trips by top Chinese leaders, and China’s selection as the host of the 2008 Olympic Games. “While studying art, we’ve learned about artists who lived through momentous times. Since we are experiencing such a period ourselves, I will continue to learn from it,” Chow said in an interview. His works also highlight the career of Sharon Cheung, a former journalist and now gallery director, who covered some of Hong Kong’s most defining political events. One of Chow’s paintings captures a famous 2000 exchange where former Chinese President Jiang Zemin scolded Cheung for asking “too simple, sometimes naive” questions about Hong Kong’s leadership. City Guide to Kathmandu, Nepal for Bangladeshis Another series, titled Panda, depicts Jiang’s lighter side. It revisits his humorous response to a 2002 U.S. press conference question about pandas, where he replied in English, “I’m sorry, I am an electrical power engineer.” Chow said he included this piece because of Hong Kong’s recent fascination with pandas, sparked by twin cubs born last year. Art Amid Political ConstraintsOver the past two decades, Chinese leaders have become less open with Hong Kong journalists. In 2023, Beijing even canceled the premier’s annual press conference—one of the few opportunities for media interaction with top officials. Meanwhile, Hong Kong has seen intensified political control, particularly after the 2019 anti-government protests. Pro-democracy activists have been jailed, independent media outlets shut down, and cultural institutions subjected to tighter scrutiny. In 2021, authorities amended the city’s film censorship laws on national security grounds, leading some filmmakers to stop screening their work locally. Bookstores and libraries have also begun practicing self-censorship. Despite these challenges, Cheung and Chow remain committed to their work. “People are more cautious about expressing their thoughts, but fear won’t stop us,” said Cheung, director of SC Gallery. “Art creates space for interpretation—we’re not telling people what to think, but rather allowing them to reflect.” Finland ranked again the world’s happiest country in 2025: What’s the secret Chow, who has never considered leaving Hong Kong, believes that artists witnessing historical transformations have a responsibility to document them. “Finding ourselves in this moment of change, how could I, as a creative professional, not be here to witness it personally?” he said. Source: With input from agnecy 

In protest against the ongoing genocide and Israeli war crimes backed by Western powers, Drik Picture Library organised a solidarity rally this morning at Rabindra Sarobar in Dhanmondi to commemorate the martyred Palestinian children. The death toll in Gaza has surpassed 50,000, with 17,000 of the victims being children. In remembrance of these innocent lives, Drik staff expressed solidarity alongside the children from the organization "Shishuder Jonno Amra" (We for the Children). Mangal Shobhajatra may get a new name: Farooki The rally featured poetry by artist Farzana Wahid Shayan on Gaza’s children and a speech by eminent photographer and Drik Picture Library founding Managing Director Shahidul Alam, highlighting the brutal reality of the ongoing atrocities. “In the same way children are playing here at this amphitheater today, children everywhere in the world should have the same freedom to play,” Shahidul Alam said in his speech. “We are meant to nurture them in such an environment. But Israeli aggression, war crimes, and genocide have shattered this reality.” Shilpakala Academy to hold Eid celebrations 1st time ever He emphasised the importance of standing in solidarity with Palestine and continuing the struggle for their freedom. "People around the world are protesting from their respective positions. We must also keep supporting Palestine so that when our children ask us about our role in this crisis, we can face them with dignity," he added. The rally was attended by Drik’s friends, fellow activists, artists, photographers, and members of the public.

Cultural Affairs Adviser Mostofa Sarwar Farooki has said that the name of the New Year's Mangal Shobhajatra may be changed. The adviser shared this information with reporters after a meeting on the national celebration of the Bengali New Year as well as the New Year celebrations of the Chakma, Marma, Tripura, Garo, and other ethnic groups at the Secretariat on Sunday. Dr Jamil’s statements were not entirely true: Farooki A meeting will be held at Dhaka University on Monday to finalise the new name, he added. Farooki also said that this year’s Mangal Shobhajatra, which will involve participation from all ethnic groups, will feature new elements including colours, scents, and melodies. He mentioned that "this time you will see new things in the Shobhajatra that will come out from the Fine Arts. You will witness these changes firsthand." “We won’t reveal all the details yet; it’s a teaser. Those who join will see the changes for themselves,” he added. Adviser Farooki explains suspension of theatre festival He further said that this Shobhajatra was initially called ‘Anando Shobhajatra’, and later it became ‘Mangal Shobhajatra’. Since it has already undergone one name change, it could change again if there’s consensus. If everyone is in favour, it might not be changed.” The adviser said this year’s Shobhajatra is no longer just for Bangalees; it is for everyone — Bangalees, Chakmas, Marmas, Garos, and others. “We must ensure the name reflects inclusivity, so it doesn’t feel exclusive or limited to one group. We want to avoid putting anyone in a bracket,” said the adviser.

Bangladesh Shilpakala Academy (BSA) and Bangladesh Mime Federation jointly celebrated World Mime Day 2025 on Saturday with a discussion session and mime performances at BSA's Studio Theatre Hall, Segun Bagicha in the capital. This year’s celebration carried special significance, as it marked the 102nd birth anniversary of legendary French mime artist Marcel Marceau. The event, which commenced at 7 pm, was presided over by Soleman Mehedi, acting President and organiser of Bangladesh Mime Federation. The federation’s General Secretary Mahbub Alam delivered the welcome speech, while its former General Secretary Dhiman Saha Jewel also spoke at the event. Prominent mime artist Zahid Ripon, a former chairman of the Bangladesh Mime Federation, and Mohammad Jasim Uddin, deputy director of the Theatre and Film Department at Bangladesh Shilpakala Academy, participated in the discussion, shedding light on the current state and future of mime art. The speakers reflected on the contributions of pioneering mime artists in Bangladesh, including Partha Pratim Majumder, Kazi Mosharul Huda, Zillur Rahman John, Debangshu Hore, and internationally acclaimed mime artist Rizwaan Rajon, the founder of Bangladesh's modern mime movement. Mime veteran Dewan Mamun, the first mime artist from post-independence Chattogram, was also present at the event. Highlighting various aspects of mime art, the speakers urged for the implementation of more programmes to promote the country's mime scene. Following the discussion, mime performances were presented by member troupes of the Bangladesh Mime Federation, including Mirror Mime Theatre, The Mummers, Shawon Mime Academy, and Mime Troupe. Additionally, at 7:30 pm, a special production of William Shakespeare’s 'Macbeth' was showcased by theatre troupe Swapnadal at BSA's Experimental Theatre Hall, while the Silent Theatre of Chattogram celebrated the day in collaboration with the District Shilpakala Academy, Chattogram. World Mime Day is observed globally on March 22 to honour Marcel Marceau, who was born on this day in 1923 in Strasbourg, France. Since his passing on September 22, 2007, this day has been celebrated worldwide to pay tribute to his legacy.

Bangladesh Shilpakala Academy (BSA) has announced on Thursday that for the first time ever, it is set to organise an Eid celebration, embracing the country’s diverse cultural heritage. The academy will host the programme titled 'Elo Khushir Eid' at its Nandan Moncho on March 30 from 7 pm onwards, celebrating the 'Chand Raat' (night before the Eid day). BSA has shared the poster image of the event with the media and is yet to reveal the details of the event; however, Cultural Adviser Mostofa Sarwar Farooki shared the announcement image on social media on Thursday, making the announcement of the event. "For the first time, Shilpakala Academy is hosting an Eid celebration. Bangladesh is a land of many languages, beliefs, and religions," Farooki wrote on his Facebook. "Everything in the diverse society we live in is a part of our culture. Bangladesh will celebrate it all! The politics of division are no longer welcome here," the cultural adviser wrote. CA Press Secretary Shafiqul Alam and others have also shared the announcement image, and netizens on social platforms have been applauding the decision made by BSA for the first time ever.

Bangladesh Shilpakala Academy (BSA) launched a three-day workshop on Sufi and Qawwali music on Thursday, organised by its Training Department. The workshop commenced at the seminar room of the BSA National Theatre Hall and will run daily from 2 pm to 5 pm till March 21. Qawwali artist Md Samir Hossain (Samir Qawwal) is leading the workshop as the chief trainer, while the course is being directed by Begum Kamrun Nahar, course coordinator of the Training Department, while senior instructor (music) S M Shamim Akhtar is serving as the coordinator. A total of 15 participants are attending the workshop. The workshop aimed to highlight the diversity of Sufi and Qawwali music, ensuring equal importance to all musical genres. According to Shilpakala Academy, it sought to train new Sufi and Qawwali artists and promote these traditional musical forms among the general public through this initiative.

A comedy play titled “Songs of Hawkers” was staged at the Experimental Theatre Hall of Bangladesh Shilpakala Academy on Thursday, offering a humorous yet insightful portrayal of street hawkers’ lives. Organised by Alliance Française de Dhaka (AFD), the play will be reprised at the same venue at 3:30 pm on Friday. Kashmir’s Sufi Music enthusiasts hold on to cassette tapes Directed by French theatre artist Zazie Hayoun, 'Songs of Hawkers' blends elements of dance, music, puppetry, acrobatics, and clowning to depict the vibrant, chaotic world of Bangladeshi hawkers. The play incorporates the French theatrical technique of Grand Guignol, a 19th-century form known for its dramatic storytelling. Throughout her international career, Hayoun has focused on capturing the essence of everyday life, transforming seemingly insignificant details into compelling narratives. In this production, she presents three interwoven stories – The Secret, The Thief Rewarded, and The Competition – highlighting the struggles, humour, and resilience of street vendors. The cast includes Imam Hossain, M S Rana, P K Fazal, and Suraiya T Mou, with a creative team led by Hayoun as writer and director. Prajna T Rubayyat and Farjana Akter served as assistants, while music was led by Rahul Ananda; tune and composition of the song ‘Dog Eat Dog World' were done by Gopi Debnath, and choreography contributions came from Farhad A Shamim. With a duration of one hour, Songs of Hawkers pays tribute to the hawkers who add rhythm and poetry to urban life through their relentless chants and daily hustle. ‘Hajong’: Aslam Molla’s first solo photography exhibition to be held Friday The play, performed primarily in Bangla with some English dialogue, offers free entry upon confirmation via [email protected]. It will continue at the same place and time on Friday.

Inside his shop in Srinagar, tailor Farooq Ahmad Shaksaaz presses a button on his vintage 1970 Sharp cassette player. With a familiar clack, the machine comes to life, crackling for a moment before the soulful voice of Ghulam Ahmad Sofi fills the air, singing about divine love and longing for the creator. Shaksaaz inherited his deep appreciation for Kashmir’s Sufi music from his grandfather, along with a carefully preserved collection of cassette tapes from the 1970s. As he sews, he immerses himself in the melodies, belonging to a niche yet devoted group of listeners who insist that cassette tapes offer the purest experience of Kashmir’s spiritual music. In Indian-controlled Kashmir, Sufi music—rooted in the teachings of local and Central Asian Muslim saints—has long been a source of solace, offering spiritual guidance and a refuge from the region’s frequent unrest. For decades, the hum of cassette players has carried the mystical poetry of Sufi saints and the sounds of traditional Kashmiri instruments like the sarangi and santoor. Even today, many Sufi music gatherings in the region are recorded exclusively on cassette tapes, a format that flourished between the 1970s and 1990s. Although digital versions of the music are increasingly accessible, many Kashmiris argue that nothing compares to the authenticity of cassette tapes. ‘Hajong’: Aslam Molla’s first solo photography exhibition to be held Friday “There is something sacred about pressing the play button on a cassette player,” said Abdul Ahad, a carpet weaver. “For me, it’s like listening to the voices of spiritual guides.” During the cassette era, local record labels released some of the most treasured Sufi music albums. While the format has declined, devoted fans still bring tape recorders to Sufi gatherings, where digital recorders are often unwelcome due to concerns that they distort the distinct sounds of traditional instruments. “Tapes give a smooth and rich sound,” said Abdul Hamid Khan. “You can hear each instrument clearly, something modern players fail to capture.” However, as tapes degrade and more music shifts to digital platforms, maintaining the cassette-listening tradition has become increasingly difficult. Many families have been forced to part with their tape players due to mechanical failures, while others struggle to preserve their cherished collections—some holding rare, irreplaceable recordings passed down for generations. To protect these musical treasures, some enthusiasts have started digitizing old recordings. Only a few shops in Srinagar still sell tape recorders or blank cassettes, and finding spare parts or repair technicians has become a challenge. A handful of mechanics in the Kashmir Valley continue to restore vintage cassette players, keeping the tradition alive. Mohammad Ashraf Matoo, a self-taught repairman, has dedicated years to fixing decades-old machines from brands like Sharp and Kenwood, despite the dwindling supply of spare parts. He salvages components from broken players and even manufactures some parts himself to meet demand. Depending on the brand and condition, a fully restored tape recorder sells for anywhere between $150 and $850. Maiden cultural event in 17 years, Sufi Fest enlivens Ahsan Manzil For Shaksaaz, holding onto cassette tapes is more than just nostalgia—it’s a mission to preserve Kashmir’s cultural and spiritual heritage. “It’s a bridge to our past,” he said. “A way to stay connected to our roots in an increasingly digital world.” Source: With input from agency

Photographer, journalist, and theatre activist Mohammd Asadurjaman Aslam Molla’s first solo photography exhibition, ‘Hajong,’ is set to be inaugurated on Friday at La Galerie, Alliance Française de Dhaka (AFD) in the capital’s Dhanmondi. The opening of the exhibition will be joined by Nurul Kabir, editor of New Age, and Mustafa Zaman, artist-art critic and Bangladesh Shilpakala Academy (BSA) Fine Arts Director, on Friday at 4 pm. Bangladesh’s art treasures deserve a global stage: Clare Hindle The exhibition will highlight the rich culture, traditions, and lifestyle of the Hajong community, a small ethnic group residing in the northeastern regions of Bangladesh, including Sunamganj, Sylhet, and Mymensingh. The Hajongs have a unique culture and religion, closely aligned with Hinduism but centred around worshipping Shiva, their chief deity, and Aslam Molla’s work will showcase their distinct customs, including their practice of wearing ‘Paita,’ the holy thread, and their devotion to Goddess Durga and other deities. The Hajong people, who were significantly displaced during the 1947 partition of the Indian subcontinent, have a history intertwined with political movements, particularly the fight against the exploitation of zamindars in the Mymensingh division. Aslam Molla's exhibition will also shed light on their struggles, including their involvement with the Communist Party and the subsequent migration of around 30,000 Hajong refugees to India in 1964. Garden Gallery Cosmos welcomes Spring with daylong ‘Live Drawing, Watercolour Session & Exhibition’ Aslam Molla is currently working as a journalist at New Age. His past exhibitions include the Colombo Art Expo 2024 and the 25th National Art Exhibition in 2023, where he won the Best Award in Photography. The exhibition will be open to all till Tuesday, March 18, every day from 3 pm to 9 pm.