United News of Bangladesh

Gallery Cosmos and Cosmos Atelier71 hosted the 11th session of its artist talk series, Cosmos Art Echo, on Saturday, featuring the artistic transformation of distinguished Bangladeshi artist, art educator, curator and researcher Bishwajit Goswami. The session, titled "Metamorphosis," was held at the Cosmos Atelier71 Studio at Cosmos Centre in Malibagh, bringing together artists, students, art educators and cultural enthusiasts for an in-depth discussion on transformation in artistic practice, cultural identity and contemporary visual language. Through his multidisciplinary and research-based practice, Bishwajit reflected on his lifelong artistic evolution, saying nothing had been able to stand in the way of his journey of transformation. Bishwajit Goswami’s practice centers on six foundational elements—Ma, Mati, Manush, Bhasha, Swadesh and Prokriti—representing mother, soil, people, language, motherland, and nature. Through multidisciplinary approaches, he investigates how these interconnected elements shape collective identity.  His practice emphasizes collaboration, site-responsive methodologies, and sustained dialogue with artisans and communities across local and international contexts. Both his artistic and curatorial works advocate shared authorship, repositioning traditional forms within contemporary frameworks through processes of exchange. Goswami said his creative practice is deeply rooted in nature, drawing inspiration from natural phenomena such as the tides, the roar of the sea and the first light of day entering his studio. Reflecting on his role as an educator at the Faculty of Fine Arts, he described teaching as a continuous learning process, saying the enthusiasm and energy of young students, including watching them paint on large canvases, remain one of his greatest sources of inspiration. He stressed that art should communicate with everyone- from rickshaw pullers to schoolchildren- and said he was proud that his wall-paintings were protected following the July movement because ordinary people felt connected to them. Speaking about his curatorial works, Bishwajit said he focused on presenting the richness and strength of Bangladeshi culture to international audiences, citing his work with the Victoria and Albert Museum as an example.

The first known international appearance of HOBEKI?’s iconic Subodh graffiti has disappeared from a wall in Rangpo, Sikkim, only five days after it was first reported. The large stencil mural, which appeared near the Majitar Nala Bridge on the Gangtok–Rangpo Road around June 30, 2026, immediately attracted widespread attention across both Bangladesh and India. Its emergence marked the first documented appearance of HOBEKI?’s work outside Bangladesh and generated extensive discussion in newspapers, television, online media, and social media on both sides of the border. HOBEKI? crosses borders: Subodh appears at Gateway to Sikkim Several Indian news outlets interpreted the work from different perspectives. Some viewed it primarily as a remarkable example of contemporary street art, while others questioned its appearance in a sensitive border state and discussed possible security implications. The mural quickly became the subject of public debate, with discussions extending beyond art into questions of borders, identity, diplomacy, and public space. ARTCON, an art agency documenting the artist's practice, has now learned that the mural has been removed. As of publication, no individual or authority has publicly claimed responsibility for its removal, and no official explanation has been issued. The circumstances surrounding its disappearance therefore remain unknown. The removal is, in one sense, consistent with the inherently temporary nature of street art. Graffiti created on outdoor walls is constantly exposed to weather, redevelopment, repainting, political poster campaigns, and advertising. Bangladesh itself has witnessed numerous examples of significant graffiti works disappearing within days or months of their creation. HOBEKI?‘s work, however, occupies a distinctive position within South Asian street art. The artist’s anonymity, highly recognisable visual language, and refusal to explain individual works have made each new Subodh mural an event in itself. Every appearance generates public curiosity, multiple interpretations, and, at times, controversy. That same combination has also meant that several of the artist’s earlier murals in Bangladesh have disappeared shortly after attracting public attention. Social thinker Professor Manosh Chowdhury observed that politically sensitive public art often creates discomfort for certain sections of society and that graffiti carrying strong symbolic meaning has repeatedly disappeared in different contexts. Expressing a complex reaction to its rapid destruction, Prof. Chowdhury noted that it triggers a "complicated emotion because this is a painting most people were not even supposed to see in person given its location, yet it was erased so quickly." He reflected that while multiple works by 'Hobe Ki' or the 'Subodh series' have remained intact on several walls in Dhaka, others did not last long. However, because of its strategic location and the significance it had gained, the feeling is even more intricate, leaving a strange sense of loss. The Sikkim mural itself invited interpretation without providing any explicit explanation. It depicted Subodh lying in a hammock woven from barbed wire, holding a wire cutter, with a bucket resting below and the Teesta River nearby. As with all of HOBEKI?’s works, the artist offered no statement explaining its meaning. ARK Reepon, art analyst and founder of ARTCON, noted that although the wall has now been erased, the conversation it initiated continues. He observed that as with many significant works of street art, the mural’s physical life proved brief, but its cultural afterlife may prove considerably longer.

A full-length documentary titled Ognipother Kobi is being produced on the life, literary works, political ideals and social contributions of Bangla Academy Award-winning poet Mohan Raihan. The documentary is being directed by acclaimed documentary filmmaker Masud Karim under the banner of the Bangladesh Documentary Filmmakers Association. The film will chronicle various stages of Mohan Raihan's life, including his birth, childhood, upbringing, literary career, political engagement, social commitment and contributions to the Bengali language and culture. It will also explore his influence on contemporary literature, society and intellectual thought. The first phase of filming has already been completed at several locations in Dhaka, including Dhaka College and the University of Dhaka. The remaining scenes will be shot in Sirajganj, the poet's birthplace, during the next phase of production. The documentary features reflections on Raihan's life and literary achievements by several prominent academics and cultural figures, including Professor Emeritus Serajul Islam Choudhury, the late Professor Abul Kashem Fazlul Haq and noted dramatist Mamunur Rashid, along with other distinguished personalities. Masud Karim has previously directed documentaries on legendary actor Soumitra Chatterjee, National Professor Anisuzzaman, journalist and writer Abdul Gaffar Choudhury, and The Bengali Language Movement in Assam, a historical documentary on the Bengali Language Movement in Silchar. The premiere of Ognipother Kobi is scheduled to be held at the Bangladesh National Museum on August 1 to coincide with the 70th birth anniversary of poet Mohan Raihan. The filmmakers said the documentary aims to introduce Mohan Raihan's life, literary legacy, ideals and lifelong struggles to younger generations while preserving an important chapter of Bangladesh's literary and cultural heritage for the future.

Japanese football fans, long admired for cleaning stadiums after World Cup matches, are now facing criticism at home over a perceived double standard in household responsibilities. After recent match photos showed fans collecting litter from the stands with trash bags, social media users in Japan raised concerns that while some men are diligent in public spaces, they may not be equally involved in domestic chores. A viral post compared a man cleaning up at a stadium with the same man relaxing at home, using his phone while his wife handled household work such as dishes and laundry. The post urged Japanese men to “pitch in more at home,” noting that the country ranks among the lowest globally in time spent by men on housework. The post has been widely shared, gaining around 60,000 likes on X (formerly Twitter). “Everyone wants to save the world, but no one wants to help mom do the dishes,” one user commented, quoting American author PJ O’Rourke. Another user wrote that some of the fans seen cleaning stadiums likely leave childcare duties to their wives in order to attend matches. Cleanliness and discipline in public spaces are deeply rooted in Japanese culture. However, data from the Organisation for Economic Co-operation and Development (OECD) shows a significant gender gap in unpaid domestic work. As of 2021, Japanese women spent more than three hours per day on unpaid labour, over five times more than men, who averaged just 47 minutes. The gap is even wider in families with young children. A 2021 government survey found that in dual-income households with children under six, women spent over seven hours a day on housework and childcare, compared to less than two hours for men. Some social media users also questioned whether the praise for overseas cleanliness overlooks similar issues within Japan, where public areas can become littered after large events. Despite the debate, many others defended the fans, arguing that their stadium cleanups should be appreciated rather than criticised. “There’s nothing embarrassing about it. It’s far better than headlines saying Japanese people are littering abroad,” one user wrote. The practice has also inspired fans from other countries. A recent viral video showed Portuguese supporters collecting rubbish from stadium seats, with some users crediting Japanese fans for popularising the trend. With inputs from NDTV

A striking cave-like installation has opened on Paris’ oldest bridge, temporarily turning the historic structure over the River Seine into a dark, immersive art space filled with sound, scent and light. For weeks, a black, mountain-like structure had covered the Pont Neuf, raising curiosity among passers-by. It finally opened on Monday evening, allowing the public to step inside the artwork. Once inside, visitors are met with a dramatic shift in atmosphere. The air carries the smell of damp earth, stone and smoke, while the sounds of low electronic pulses echo through the structure. Beneath it, the bridge’s old cobblestones remain visible underfoot, reinforcing the sense of walking through another world. The installation, called the Pont Neuf Cavern, has been created by French street artist JR (artist), often described as the “French Banksy.” It is open free of charge and will remain accessible 24 hours a day until June 28. Built mainly from printed fabric and air, the work rises about 18 metres above the Seine, transforming the centuries-old bridge into a temporary artificial cave. Visitors described the experience as disorienting yet captivating. “It feels like the city has disappeared,” said one visitor, noting that although the river remains just outside, the interior feels like stepping into an ancient landscape. A key feature of the installation is its carefully designed scent environment. Olfactory artist Sarah Bouasse created shifting smells inspired by compounds found in rain-soaked soil. The scent changes as visitors move through the space, from wet earth to warmer, smokier tones. Many visitors said the experience changed the way they moved across the bridge. “Today I felt the stones under my feet. And smelled them too,” said one retiree, adding that it made him feel like a child again. The sound design was created by Thomas Bangalter, known from the electronic duo Daft Punk. His audio installation adds deep rumbles, echoes and rhythmic pulses that intensify the cave-like effect. Completed in 1607, the Pont Neuf — ironically meaning “New Bridge” — is the oldest standing bridge in Paris. The installation encourages visitors to experience the landmark not just visually, but through smell, sound and touch. The project also pays tribute to artists Christo and Jeanne-Claude, who famously wrapped the bridge in fabric in 1985, attracting millions of visitors. Unlike that earlier bright installation, JR’s version explores darkness, guiding visitors through a shadowed passage before they re-emerge into daylight on the other side. The experience can also be enhanced through a smartphone-based augmented reality feature developed with tech company Snap, which adds digital bats, visual traces and a virtual dancer to the space. JR has linked the concept to Plato’s allegory of the cave, suggesting modern people are similarly influenced by digital screens and algorithms shaping perception. Visitors said the installation offers a rare pause in daily urban life. “Paris needs things that make people stop,” said one visitor. When the exhibition ends, the structure will be dismantled and its materials reused or recycled, returning the bridge to its normal state as traffic flows again over the historic Seine crossing.

As the 2026 FIFA World Cup unfolds across North America, several smaller American cities are enjoying a rare moment on the global stage after being selected as training bases for some of the tournament’s biggest teams. In Chattanooga, Tennessee, eight-year-old Beckham McClure waited for hours with a handwritten note hoping to catch a glimpse of Spain’s star players. When he finally saw them take the field, he turned to his father and whispered: “They’re real.” The moment reflected the excitement spreading through communities that are hosting national teams between World Cup matches. Defending European champion Spain has set up its training camp at Baylor School in Chattanooga, while Iraq is based at the historic Greenbrier resort in West Virginia. Germany has chosen Winston-Salem, North Carolina, as its World Cup headquarters. The arrival of these teams has transformed local communities, bringing international attention and creating a festive atmosphere for football fans. In Chattanooga, Spanish flags decorate hotels and public spaces, while banners welcoming the team have appeared across the city. Thousands of fans applied for a limited number of tickets to watch Spain’s training sessions at Baylor School. Local resident Skip Schwartz said Spanish jerseys have become a common sight around the city. “You can’t always tell whether the person wearing one is from Spain or a local supporter,” he said. In Winston-Salem, tickets to watch Germany train sold out within minutes. Local businesses have embraced the opportunity, with restaurants and sports bars organizing viewing parties and offering German-themed menus. Savannah Lahey, manager of a local football bar, said the event has encouraged many people to take an interest in the sport. “It’s exciting to see people getting involved in something they may not have followed before,” she said. Teams selected their training bases from a list of FIFA-approved facilities across North America. Higher-ranked teams received priority in choosing locations. Despite having the option of larger cities such as Chicago and Los Angeles, Spain chose Chattanooga because of Baylor School’s facilities, convenient location and easy access to match venues. The school upgraded and maintained its football pitches to meet FIFA standards, including strict requirements for field quality, drainage and irrigation systems. Two grass training fields now serve as the centre of Spain’s daily preparations, while players are staying at a nearby downtown hotel. For Baylor School officials and former students, Spain’s decision to use the campus is a source of pride. “It’s hard to imagine that one of the world’s biggest football nations would choose this campus as its World Cup base,” said Schwartz, a member of the school’s board. The presence of Spain has also created new supporters among local fans. Tina Ankar, who attended one of the team’s open training sessions, said the experience made her eager to follow Spain throughout the tournament. “Now we have another team to support besides the United States,” she said. Students at Baylor School have also enjoyed unprecedented access to world-class football stars. Many were excited to see locker rooms temporarily assigned to players such as Pedri, Gavi and Lamine Yamal. For 17-year-old student Heath Techasiriwan, the experience has changed his World Cup loyalties. “Without a doubt, I’m supporting Spain,” he said. Young goalkeeper Mathew Ramirez was thrilled when Yamal signed his Barcelona jersey after training. Back in Chattanooga, Beckham McClure returned home with player autographs and selfies, still amazed that the football stars he usually watched on television were standing just a few feet away. His father, Jaxon McClure, who now coaches hundreds of local children, said the city’s football culture has grown dramatically over the years. “They could have chosen anywhere in the country,” he said. “And they chose us.”

What turns a song into a memorable FIFA World Cup anthem? Is it cultural representation, a catchy global hook, or a chant-friendly chorus that unites millions of fans? Ahead of the 2026 FIFA World Cup, artists who have contributed to past and present tournament songs shared their insights with The Associated Press. Among them is Colombian superstar Shakira, who is performing the official 2026 World Cup anthem “Dai Dai” alongside Afrobeats artist Burna Boy. Shakira, who previously delivered the iconic 2010 World Cup anthem “Waka Waka (This Time for Africa)”, said a World Cup song must reflect global emotions and connect cultures through music. She emphasized that such songs need rhythm, energy and a strong sing-along quality. According to her, a successful anthem should make people want to dance, sing together and feel emotionally united, as football itself brings together people from different backgrounds. Colombian singer J Balvin, who is part of Coca-Cola’s official World Cup 2026 track — a reworked version of Van Halen’s “Jump” featuring Travis Barker, Amber Mark and Steve Vai — said modern music demands immediate impact. He noted that listeners’ attention spans are short, making a strong opening and memorable hook essential. He added that a World Cup anthem should reflect the emotional highs and lows of football matches and match the sport’s intensity. Canadian-Moroccan artist Nora Fatehi, featured on the official World Cup album with the track “Siir, Siir” alongside Vegedream and DJ Sanjoy, said a good anthem should feel empowering. She said it should evoke a sense of victory, motivation and aspiration the moment it is heard. Meanwhile, Wyclef Jean, who co-created the 2014 World Cup song “Dar um Jeito (We Will Find a Way)”, said a successful anthem must energize stadiums and carry strong rhythm and melody. He stressed that while global collaboration can help, the key element is cultural energy rather than the number of featured artists. Jean added that World Cup music should transcend language barriers and focus on unity, resilience and hope, delivering an uplifting message for young people worldwide. With each edition of the tournament, World Cup anthems continue to evolve, but the common thread remains the same — music that unites fans across nations through rhythm, emotion and celebration.

Pope Leo XIV on Wednesday paid tribute to two of Barcelona’s most iconic religious sites, offering prayers at a hilltop monastery in the morning and leading an evening Mass at the world-famous Sagrada Familia Basilica on the 100th anniversary of architect Antoni Gaudí’s death. The Pope began his day by visiting inmates at a Barcelona prison, continuing a tradition established by Pope Francis of meeting prisoners during overseas trips. He told the inmates that past mistakes do not define a person’s future, saying that people always have the chance to change their lives. Pope Leo is currently on a weeklong visit to Spain, where large crowds of Catholic faithful have welcomed him, reflecting the country’s enduring religious devotion despite a long period of secularisation after the end of its 20th-century dictatorship. Later in the day, the Pope was set to visit the Montserrat monastery outside Barcelona, a major spiritual site for Catalonia’s Catholics. The complex includes an 11th-century Benedictine abbey, a 16th-century basilica, and the famous Black Madonna statue. It is also home to one of Europe’s oldest boys’ choirs, dating back to the 13th century. The highlight of the visit is an evening Mass at the Sagrada Familia, held to mark 100 years since the death of its creator Antoni Gaudí, who died in 1926 after being struck by a tram. Construction of the basilica began during the papacy of Pope Leo XIII and has continued for more than a century. Today, it stands as one of the most visited but still unfinished monuments in the world, attracting millions of tourists each year. Gaudí, whose work is being considered for sainthood, dedicated much of his life to designing the basilica as a “stone expression” of Christian faith. The building’s façades depict major events from the life of Jesus Christ, including his birth and crucifixion, while a third façade representing his glory is still under construction. The structure features 18 towering spires symbolising Christ’s apostles, the four evangelists, the Virgin Mary, and Jesus Christ himself. Last year, the central tower dedicated to Christ was completed at a height of 172.5 metres, making Sagrada Familia the tallest church in the world. The Pope is expected to formally consecrate the tower during Wednesday’s Mass. Inside, the basilica is designed to resemble a forest, with tree-like columns rising toward the ceiling and coloured light streaming through stained glass windows, creating a shifting play of light throughout the day. Gaudí once said nature was his greatest teacher, a philosophy reflected in the building’s design, which blends Christian symbolism with natural forms. Historians say the Sagrada Familia combines biblical themes with elements of nature to create a spiritual experience where architecture, light and symbolism come together to express faith in a unique visual form.

More than 300 scholars, researchers and cultural figures from around 70 countries gathered in northwest China's ancient Silk Road city of Dunhuang this week to discuss how Chinese culture and ideas can help address some of the world's growing challenges. The Third World Conference of Sinologists, which concluded on Thursday, focused on the theme "Pooling Wisdom of Civilizations to Jointly Address Challenges of Our Times." Participants said increasing global conflicts, economic inequality and declining trust among nations have sparked renewed international interest in Chinese culture, philosophy and approaches to development. Among the attendees was German traditional Chinese medicine (TCM) practitioner Joel Mikael Walker, who has spent more than a decade studying in China. Speaking at the conference, he said Chinese philosophy had changed his understanding of the world. Walker said concepts such as yin and yang taught him that differences and conflicts do not always have to lead to confrontation and can instead be resolved through dialogue and balance. Many speakers noted that sinology, traditionally the study of Chinese language and culture, is increasingly moving beyond academic research and becoming part of everyday cultural exchanges between China and the rest of the world. The choice of Dunhuang as the venue carried special significance. Located on the ancient Silk Road, the city served for centuries as a meeting point for trade and cultural exchange between East and West. It is also home to the world-famous Mogao Grottoes, which contain hundreds of ancient caves, sculptures and murals dating back more than 1,600 years. Former Ethiopian President Mulatu Teshome Wirtu said the Silk Road was not only a route for trading goods but also a channel for sharing ideas and cultures among different civilizations. Several participants pointed to a growing curiosity about China among younger generations, particularly in Europe and other Western countries. Ingar Solty said many young people are becoming interested in Chinese lifestyles, wellness practices and cultural traditions. Similar views were expressed by Sebastien Joseph Roland Perimony, who said more young Europeans now see China as a country associated with innovation, development and stability. Speakers also argued that Chinese philosophical traditions, shaped by thinkers such as Confucius and Lao Tzu, offer ideas that remain relevant in today's world, including harmony, respect, humility and coexistence. Mohamed Rasheed said these values could help address growing tensions and divisions across the globe.Wirtu said China's development model, which combines economic growth with social and cultural progress, could provide useful lessons for other developing countries seeking modernization. Meanwhile, Sira Abed Rego said international dialogue and cultural exchange are becoming increasingly important as geopolitical tensions and conflicts continue to rise. She said China has contributed to global cooperation by promoting multilateralism, mutual respect and trust among nations, adding that efforts to study languages, translate cultures and promote understanding help reduce barriers and support peace. Participants agreed that greater exchanges among civilizations and cultures remain essential to addressing shared global challenges and building a more peaceful future.

Singer Kanak Dutta has made her playback singing debut in films through the upcoming movie ‘Dhaka 1205’. Her debut comes with the song ‘Hridoyer Jomine’, written and composed by Walid Ahmed, with music direction by Rubel Flying Kites, said a press release. Speaking about the opportunity, Kanak Dutta said, “Music has always been an inseparable part of my life. I have been singing for many years, but this is my first opportunity to perform a playback song for a film. Every singer dreams of becoming a playback artist, and through ‘Dhaka 1205’, that dream is finally coming true. I am grateful to the filmmaker for placing his trust in my voice.” Music director Rubel Flying Kites described ‘Hridoyer Jomine’ as a song that leaves a lasting impression on the listener.  “This is the kind of song that allows listeners not only to enjoy the music but also to visualize the entire story and emotion behind it. Kanak Dutta is a talented and humble artist. Her unique voice and willingness to take on creative challenges truly impressed me,” he said. Director Walid Ahmed noted that the production team had been searching for a singer who could convey not only the melody but also the emotional depth of the song. “ Kanak Dutta is already a familiar name among music lovers for her long-standing dedication to Rabindra Sangeet, Nazrul Geeti, folk music, classical music, and modern songs. Her entry into film playback singing marks a significant new chapter in her musical career. Beyond audio releases and live stage performances, her voice will now reach audiences on the big screen as well. Produced under the banner of Shadamata Entertainment, ‘Dhaka 1205’ stars Ashna Habib Bhabna and Rakib Hossain in the lead roles.