With winter approaching, quality shawls become a wardrobe essential for those seeking warmth and style. Among luxury winterwear, the Pashmina shawl stands out for its timeless elegance, crafted from the ultra-fine fibers of the Changthangi Mountain Goat. Originating in Ladakh in northern India, these shawls carry a rich cultural heritage and are highly sought after worldwide. However, the market is flooded with imitations, making it crucial to know how to distinguish a true Pashmina. Here’s a guide on identifying an authentic Pashmina shawl and ensuring your investment reflects its genuine beauty and craftsmanship. 5 Effective Ways to Spot A Real Pashmina Shawl Feel the Softness  The hallmark of genuine Pashmina is its uniquely fine softness without compromising warmth. A gentle stroke over Pashmina feels feather-light, with an even smoothness across its entire surface. In contrast, synthetic or blended shawls often feel coarse, stiff, and less flexible, lacking the delicate texture of authentic Pashmina. Read more: How to Declutter Your Wardrobe to Donate Some Clothes Observe the Weave Original Pashmina fabrics are handwoven with traditional techniques. It results in a distinctive, slightly uneven weave that reflects the artisanal craftsmanship behind each piece.  Machine-made shawls, on the contrary, have a uniform, flawless weave, lacking this character. Holding the fabric reveals subtle differences, with these irregularities highlighting the skill and heritage embedded in pure Pashmina, all without compromising its flexibility or warmth. Sunlight Test Authentic Pashmina doesn’t shine when exposed to sunlight, as its natural fibers absorb light rather than reflect it. If a shawl glitters in direct light, it likely contains silk, nylon, or other synthetic materials. Read more: How to Choose the Best Fabric for Your Suit Though finely woven, this fabric is not transparent, meaning sunlight does not pass or refract through it; instead, it effectively blocks light. Static Check To test for synthetic content, gently rub the edge of the shawl between two fingers. Synthetic fibers generate static electricity through friction, causing the fibers to stand upright. Since the original Pashmina is made from natural wool, friction does not generate static electricity. As a result, the fine wool fibers remain in place without standing up when rubbed. Read more: How to Identify an Authentic Bangladeshi Jamdani Saree? Flame Test This test should only be used when other methods leave doubts, as it is best avoided unless necessary. It remains a highly effective technique for verifying authentic Pashmina, but caution is essential. Gently pull a small thread from the shawl and burn it. Genuine Pashmina will emit a scent similar to burning hair and turn to fine, powdery ash. In contrast, synthetic fibers will begin to melt, releasing a plastic-like odor and leaving a hardened residue as they burn. In a Nutshell Spotting a real Pashmina shawl requires attention to key characteristics that distinguish it from its synthetic counterparts. Texture, weave patterns, and burn tests offer physical indicators, while sunlight transparency and friction behavior further help identify natural versus synthetic fibers. Each method ensures an investment in a genuine piece of luxury crafted from Changthangi goat wool, embodying traditional craftsmanship. These five steps provide a reliable approach, enabling the selection of a true, high-quality shawl suited for warmth in winter and elegance. Read more: Personal Grooming Tips and Tricks for Better Life and Career

Speakers as a seminar organised by Bangla Academy on Sunday shed the spotlight on the life, ideology and works of eminent poet Farrukh Ahmad, widely revered as the poet of the ‘Muslim Renaissance’ on his 50th death anniversary. Presided over by Bangla Academy Director General Professor Mohammad Azam, the seminar was joined by Syed Wahiduzzaman, son of the late poet. Dr Sarker Amin, Director (Ongoing Duty), Culture, Magazine and Auditorium Division at the academy, delivered the welcome speech at the seminar. Researcher Kudrat E Huda presented the keynote at the seminar titled ‘The way we should read poet Farrukh Ahmad’, while Bangla Academy fellow and poet Abdul Hye Sikder and poet Sohel Hasan Galib spoke at the event. The speakers pointed out how the poet was misinterpreted as the Pakistan-centric litterateur while in reality, he acted as the voice of the voiceless Muslim majority in East Bengal and always cherished a prosperous and harmonious society. Bangla Academy DG Professor Mohammad Azam said, “Farrukh Ahmed has always been significant in the country’s poetry and literature; however, we did not always pay proper attention to the readings of many great writers and poets, like Farrukh Ahmad. We hope that fresh initiatives will be taken to study and practice Farrukh Ahmed in this new inclusive Bangladesh." Reminiscing his father’s relationship with Bangla Academy, Syed Wahiduzzaman said that Bangla Academy and Farrukh Ahmed shared a great literary connection from the academy’s inception. “He was the first poet to receive the Bangla Academy Award, and the academy reminisced Farrukh Ahmad at different times, which unfortunately got stagnant in the last few decades. We are happy that after a long time, the academy has organised this discussion programme to commemorate the 50th death anniversary of Farrukh Ahmad,” he said. Born in the village of Majhail of Magura District on June 10, 1918, Farrukh Ahmad is widely acclaimed for his poetic creations including ‘Sat Sagorer Majhi’, ‘Sirajam Munira’, ‘Naufel O Hatem’, ‘Muhurter Kobita’, ‘Hatemtayi’, ‘Sindabad’ and more. A receiver of major literary accolades in the country including the Bangla Academy Literary Award (1960), UNESCO Prize (1966), Ekushey Padak (posthumously, 1977) and Independence Day Award (posthumously, 1980) among others, poet Farrukh Ahmad passed away on October 19, 1974, at the age of 56 in Dhaka, Bangladesh.

Artist Auntora Mehrukh Azad’s maiden solo art exhibition titled ‘Solastalgia: Fragments of a Fading Horizon’ is currently underway at the gallery of Platforms by ISHO, in Pragati Sarani, Baridhara in the capital. Inaugurated on Saturday, October 19, the exhibition delves into the personal and universal experiences of environmental change, as seen through the eyes of young and promising artist Auntora Mehrukh Azad, whose deep connection to Bangladesh's rivers and landscapes represents her work. ‘Solastalgia: Fragments of a Fading Horizon’ explores the impact of climate-induced flooding and the tension between rural and urban environments. Growing up in Dhaka, one of the most climate-vulnerable cities in the world, she witnessed the powerful relationship between the landscape and water. Bangladesh’s geography, shaped by rivers and monsoons, is both a source of life and destruction. “A pivotal moment came in 2018, when I worked with flood-affected communities in Pakuria. Immersed in their lives, I began to see the landscape as one reshaped by human influence and negligence,” Auntora Mehrukh Azad reminisced about her journey behind the inspiration of this exhibition. The neon pink waters in her work represent the unnatural, manmade elements of this crisis, exacerbated by climate change - a global issue that hits the most vulnerable hardest, according to the artist. “From the Sundarbans to Dhaka’s dense urban fabric, Auntora’s works reflect the convergence of these worlds, blending internal emotions with external observations of a landscape reshaped by human activity and environmental crisis. Through the imagery of neon waters and floating islands, Auntora captures fragmented yet interconnected stories, reflecting the collective experiences of those on the margins of environmental disaster,” the exhibition’s curator Rayana Hossain, also the Founder and Managing Director of ISHO and Platforms, stated. The exhibition has been arranged to showcase the shifting scales of these transitions. It moves from intimate depictions of flood-affected communities to broader, more abstract landscapes, highlighting the internal and external journey of displacement and environmental degradation. Each painting extends beyond the frame, symbolising the magnitude of the crisis—far too vast to be confined to canvas. Read: Masudur Rahman’s solo exhibition ‘Journey of the Cosmos’ begins at AFD Auntora Mehrukh Azad is a visual artist whose work explores the evolving relationship between nature and urban life. Through an exaggerated and artificial colour palette, her paintings emphasise the gradual dominance of urbanisation over the natural world.  

A discussion meeting and cultural programme was organized on Saturday in the capital in memory of the world famous Iranian poet Hafiz and our national poet Kazi Nazrul Islam. Eminent nuclear scientist and founder of Bangladesh Open University Professor Dr. M Shamsher Ali, poet of the country Al Mujahidi was present as a special guest in the event while professor of Persian Language and Literature Department of Dhaka University was present as the guest of honour. Abdus Sabur Khan, President of Bangladesh Nazrul Recitation Parishad and Shaila Ahmed, Professor of Bengali Department of Lalmatia Government Women's College and deputy secretary of Finance ministry Mohammad Jihad Uddin spoke while cultural counselor of Dhaka-based Iranian Cultural Center Syed Reza Mir Mohammadi presided over the event. Speakers in the event said that as Bengal has a deep relationship with Persia, Bengali language and literature have many influences of Persian language and literature. Many Bengali-speaking poets have been inspired by Persian literature. Bangladesh's national poet Kazi Nazrul Islam himself translated the poetry of Iranian poet Hafiz and Omar Khayyam, they added. Remembering rebel poet Kazi Nazrul Islam The speakers also said that the world-famous Iranian poet Hafiz and the national poet of Bangladesh Kazi Nazrul Islam were the poets of world humanity. Both of them sounded the same tone of human love and the union of humanity. Love is the only way to get rid of the incurable disease of conflict, and selfishness in today's human society.

Today marks the fifth death anniversary of eminent Bangladeshi printmaker Kalidas Karmakar. Born on January 10, 1946 in Faridpur to a family of goldsmiths and artisans, Kalidas cemented his legacy as one of the most diverse and well-respected artists of Bangladesh. He was one of the advisers of Gallery Cosmos who initiated the state-of-the-art printmaking studio Atelier-71 at the gallery venue in Cosmos Centre, Malibagh in the capital, for which he had always shown great dedication. He was engaged with the gallery till his death on October 18, 2019. Kalidas was naturally attracted to crafts, drawing and painting. To begin with his artistic endeavours, he completed his two-years preliminary degree in fine arts at the Institute of Fine Arts, Dhaka University, in 1964. He then went on to complete his graduation from the Government College of Fine Arts and Crafts in Kolkata and achieved the prestigious degree in 1969. Known as the ‘Alluvial Man’ in the country's art sphere, Kalidas began his career with painting through assembling metal objects in the 1970s and with prints, he began to explore mythic and tantric images in the 1980s, opening up new possibilities for etching and aquatint. Marking the esteemed artist's fifth death anniversary, Gallery Cosmos and Cosmos Atelier-71 Artistic Director Sourav Chowdhury said: “For our Gallery Cosmos and Cosmos Atelier-71, Kalidas Karmakar has always been a family member and a guardian angel since its inception. Although his sudden departure has left a void, we are glad to honour his legacy, and we know that Kali da is always with us in spirit.” A maestro of printmaking, especially viscosity printing, Kalidas Karmakar’s diverse artworks featuring metallic and other objects, handmade paper, and oil on canvas prints have been widely exhibited throughout South Asia, the Middle East, Europe, the United States and many other places across the world. His maiden solo art exhibition was held at Bangladesh Shilpakala Academy on August 7, 1976. Throughout his acclaimed career, he received multiple prestigious scholarships and fellowships including the Polish Government Scholarship in Graphic Art at the Warsaw Academy of Fine Art, Warsaw University; the French Government Superior Scholarship in Fine Arts for research in multicolour etching; Japan Foundation Fellowship on Japanese Woodblock Printing at Tokyo National University of Fine Arts and Music; ICCR Special Scholarship for research in Contemporary Modern Sculpture, West Bengal Lalit Kala Academy Studio; and Asian Cultural Council New York, Fellowship with Artist Residency program in the US. For his remarkable contribution to the Bangladeshi fine arts, Kalidas Karmakar was awarded the Shilpakala Padak in 2016 and the Ekushey Padak in 2018.  

Comic book "Satire and Ridicule" was launched at DrikPath Bhobon in Dhaka's Panthapath on Thursday evening. The book is edited by photographer-activist Shahidul Alam and published jointly by Drik Picture Library, earki, and the Bangladesh Cartoonist Association (BANCARAS). The book is compiled based on "Cartoon e Bidroho"—an exhibition organised at Drik back in August. The book carries about 200 selected cartoons depicting the fall of Sheikh Hasina and the July mass uprising in Bangladesh. Dhaka University Mass Communication and Journalism Professor Dr Gitiara Nasreen, Dhaka University Sociology Associate Professor Dr Samina Luthfa, and cartoonist Mehedi Haque delivered speeches at the launching event, moderated by Drik’s Managing Director Shahidul Alam. “The time is safer than before, but it is of utmost importance to raise our voices while repression happens. We should stand beside those who talk during testing times. We need to continue our work because asking questions is always relevant,” Shahidul Alam said at the event. Dr Gitiara Nasreen said, “I am amazed that many people are working to document our memories. People could not express themselves for many years, and then an outburst happened; a lot of dissenting voices came to the forefront during this time, and a big chunk of this was expressed through cartoons, satire, and memes. Cartoon has an international language.” Samina Lutfa said, “It is crucial to know behind the scenes of a cartoon to understand the politics behind it. A cartoon has the potential to spread quicker than a thousand-word speech. People can swiftly comprehend the situation through a cartoon.” Cartoonist Mehedi Haque said, “Young cartoonists draw most of the cartoons in this book. We have collected about 500 cartoons from the internet, among which only 10-15 were created by known cartoonists.” “Many people are working through different mediums, but the culture of documentation is mostly absent. As the book is published in English, this is a great opportunity for international readers,” Mehedi added. Earlier on September 24, the cartoon book was launched at the United Nations Headquarters in New York, USA, by the Chief Adviser of the interim government of Bangladesh, Professor Dr Yunus.

The annex where the young Jewish diarist Anne Frank hid from Nazi occupiers during World War II is heading to New York. A full-scale replica of the rooms that form the heart of the Anne Frank House museum on one of Amsterdam's historic canals is being built in the Netherlands and will be shipped across the Atlantic for a show titled “ Anne Frank The Exhibition ” at the Center for Jewish History in Manhattan. Anne Frank House renovated to tell story to new generation “For the first time in history, the Anne Frank House will present what I would call a pioneering experience outside of Amsterdam. To immerse visitors in a full-scale, meticulous recreation of the secret annex. Those rooms where Anne Frank, her parents, her sister, four other Jews, spent more than two years hiding to evade Nazi capture,” Anne Frank House director Ronald Leopold told The Associated Press in an interview detailing the upcoming exhibition. In July 1942, Anne Frank, then aged 13, her parents Otto and Edith, and her 16-year-old sister Margo went into hiding in the annex. They were joined a week later by the van Pels family — Hermann, Auguste and their 15-year-old son, Peter. Four months later, Fritz Pfeffer moved into the hiding place, also seeking to evade capture by the Netherlands' Nazi German occupiers. They stayed in the annex of rooms until they were discovered in 1944 and sent to the Auschwitz-Birkenau concentration and extermination camp. Anne and her sister Margot were then moved to the Bergen-Belsen concentration camp, where they both died of typhus in February 1945. Anne was 15. Her father, Otto, the only person from the annex to survive the Holocaust, published Anne's diary after the war and it became a publishing sensation around the world as a symbol of hope and resilience in the face of tyranny. Leopold said the New York exhibit promises to be “an immersive, interactive, captivating experience" for visitors. It opens on Jan. 27, International Holocaust Remembrance Day, to mark the 80th anniversary of the liberation of Auschwitz. While the faithfully rebuilt annex of rooms will be the heart of the exhibit, it also will trace the history of Anne's family from their time in Germany, their move to the Netherlands and decision to go into hiding, to their discovery by Nazis, deportation, Anne's death and the postwar decision by her father to publish her diary. “What we try to achieve with this exhibition is that people, our visitors will learn about Anne not just as a victim, but through the multifaceted lens of a life, as a teenage girl, as a writer, as a symbol of resilience and of strength. We hope that they will contemplate the context that shaped her life.” The exhibition comes at a time of rising antisemitism and anger at the devastating war between Israel and Hamas in Gaza that has now spread to the Hezbollah militia in Lebanon following the deadly Oct. 7, 2023, Hamas-led attacks in southern Israel. “With ever fewer, fewer, survivors in our communities, with devastating antisemitism and other forms of group hatred on the rise in the U.S. but also across the world, we feel ... our responsibility as Anne Frank House has never been greater," Leopold said. "And this exhibition is also in part a response to that responsibility to educate people to stand against antisemitism, to stand against group hatred.” Anne's diary will not be making the transatlantic trip. “We unfortunately will not be able to travel with the diary, writings, the notebooks and the loose sheets that Anne wrote. They are too fragile, too vulnerable to travel," Leopold said. Among 125 exhibits that are traveling from Amsterdam for the New York exhibition are photos, albums, artefacts such as one of the yellow stars Jews were ordered to wear in the occupied Netherlands, as well as the Best Supporting Actress Oscar won by Shelley Winters for her role in George Stevens’ 1959 film “The Diary of Anne Frank.

Alliance Française de Dhaka (AFD) hosted the launch of the book titled ‘Folk Melody of Bangladesh’ on Friday, an anthology of Bangladeshi folk music presented in standard notation, compiled and edited by Iftekhar Anwar. The launch was followed by a live musical performance by the Flaming Acoustics Orchestra, including Anwar, the writer of the book. This launching ceremony, joined by eminent folk singer Farida Parveen, Liberation War Museum’s founder Trustee Mofidul Hoque, and AFD Director François Grosjean, among others, was an addition to the 65th-anniversary festivities of Alliance Française de Dhaka. A comprehensive collection of Bangladesh’s rich folk musical heritage, Iftekhar Anwar has preserved and standardised these timeless traditional melodies, which are woven into the very culture of Bangladesh, in an anthology that will ensure that the cultural treasures of the nation reach a wider audience through study and performances, garnering an appreciation for the art through increased accessibility on a global scale. This book, according to the writer himself, stands to foster a deeper understanding of our cultural heritage through the universal language of music, bridging cultural divides. Iftekhar Anwar, Founder and Director of the Classical Music Academy (CMA) in Dhaka, earned his diploma in music from the Razi Conservatory in Athens, Greece, and continued his higher education at Arizona State University, USA. In addition to the CMA, Anwar also conducts the guitar courses at Alliance Française de Dhaka (AFD), which has contributed to the popularisation of classical guitar in many. This book is a labour of his love for music, and he conveyed a special note of gratitude to Shah Cement Bangladesh, for their invaluable support in helping to achieve this ambitious goal. A talented group of individual musicians, many of whom have blossomed under the tutelage of Anwar himself, features: Iftekhar Anwar on Cello, Md Ali Akkas on Flute, Md Erfanul Haque on Classical Guitar, Nahian Kabyo on Violin, Prithila Mary Pereira on Percussion, Sattyajit Sarkar on Violin, and Simon Kierspel on Viola.

 Following the ouster of the previous regime by the student-led mass uprising, Bangladesh Shilpakala Academy (BSA), which itself also went through a massive transformation, once again reopened its National Theatre Hall on Friday after 84 days. The last theatrical performance held at this venue was on July 18, and then the academy had to restrict the screenings due to the socio-political turmoil. Since then, the academy has been occupied by army officers and personnel. On Friday at 7 pm, BSA resumed the regular screenings of stage plays with Bangladesh Theatre's production ‘Sea Morog’, written by Asadullah Farazi and directed by Humayun Kabir. This was the 301st screening of the theatre troupe’s sixth production. Ahead of this occasion, the newly appointed Director General of BSA and eminent theatre personality Dr Syed Jamil Ahmed said: “With the state undergoing constructive development, Bangladesh Shilpakala Academy is reopening its regular theatre-art practice after an unavoidable and involuntary break. On this momentous occasion, I want to send my greetings and best wishes to all cultural stakeholders in the country..” Earlier on October 7, a coordination meeting between army officials and Bangladesh Shilpakala Academy was held at the academy, which led to the decision to open the National Theatre Hall's main theatre and rooms 1 and 2 for performances and rehearsals on a limited basis, starting on October 11, Following that meeting, BSA authorities addressed several new instructions for theatre productions, performers and general audiences.  Theatre troupes are required to provide member lists of production-related troupes to the BSA office, and they are permitted to stage one show in a single shift. Based on their application for priority usage of the auditorium for staging the play, the troupes will be assigned to the practice rooms; and the troupes can also apply online for the allocation and allotment. The audience can join the shows by purchasing a ticket or presenting an invitation card, while journalists need to provide their ID cards to get entry. According to BSA’s schedule, Aranyak Natyadal will stage the play ‘Maiyur Singhason’ on Saturday, and theatre troupe Ethic will stage ‘Rajdrohi’ on Sunday, October 13.

Alliance Française de Dhaka (AFD) will lift the curtain to an Art Film Festival on Friday, featuring the works of the renowned French filmmaker François Lévy-Kuentz. The exclusive festival will feature the works of the renowned French filmmaker François Lévy-Kuentz, who has dedicated himself to creating monographs on various artists, including Chagall, Pascin, Calder, Mondrian, Dali, and Buñuel, which have all garnered accolades at international festivals. His films offer deep insights into the world of modern and contemporary art, blending historical narrative with artistic expression to create a unique viewing experience. According to AFD, the highlights of the festival include exclusive screenings that will showcase a selection of Lévy-Kuentz’s most celebrated films, including documentaries on iconic figures such as Pablo Picasso, Marcel Duchamp, and Salvador Dalí. The festival will also showcase interactive sessions, where the attendees will have the opportunity to participate in the interactive Q&A sessions, exploring the intersection of visual arts and filmmaking with François himself and a post-film discussion with Moinuddin Khaled. The screenings are scheduled as follows: 'Salvador Dali, genie tragic-comique' (2012) at 4 pm and 'Chagall, à la Russie, aux ânes et aux autres' (2003) at 5 pm on Friday (October 11); 'Calder, sculpteur de l’air' (2009) at 4 pm and 'Dans l’atelier de Mondrian' (2010) at 5 pm on Saturday (October 12); 'Nicolas de Staël, la peinture à vif' (2023) at 4 pm and 'La face cacheè de l’art americain' (2019) at 5 pm on Monday (October 14); and 'Yves Klein, la révolution bleue' (2006) at 4 pm and 'Pascin l’impudique' (2000) at 5 pm on Tuesday, October 15. Open to all, the festival will take place at AFD's Auditorium Nouvelle Vague. This event is an addition to the 65th-anniversary festivities of Alliance Française de Dhaka.