United News of Bangladesh

A 10-day theatre festival titled 'Amar Ekushey Natyotsab 2025,' jointly organized by Bangladesh Shilpakala Academy (BSA) and Bangladesh Group Theatre Federation, kicked off on Wednesday at the open stage of Suhrawardy Udyan in the capital. Dr Syed Jamil Ahmed, Director General of Bangladesh Shilpakala Academy, joined the inauguration ceremony as the chief guest and inaugurated the festival. Bangladesh Group Theatre Federation Secretary General Kamal Bayezid presided over the inauguration ceremony. Mohammad Jasim Uddin, Deputy Director of the Theatre and Film Department of Bangladesh Shilpakala Academy, delivered the welcome speech. Khandaker Shah Alam, Convener of 'Amar Ekushey Natyotsab 2025,' also spoke at the ceremony. Speaking at the event, Dr Syed Jamil Ahmed reflected on the golden era of theatre in Bangladesh, saying: "During the 1970s and 1980s, theatre flourished across the country, largely due to extensive groundwork in the 1950s and 1960s at the district level." ‘Warrior Within Festival’: Dhaka Flow event fosters resilience, connection, and well-being He emphasized the role of theatre in addressing social and political anomalies, saying, "Through theatre, we must highlight the deviations in our society and state, planting dreams and aspirations in the minds of our people. Our theatrical productions should serve as a guide, a vision of what our country should be; because if we fail to create this space, if we neglect our responsibilities just like during the ousted fascist regime - a void will be created." Dr Jamil further mentioned the ongoing efforts of Bangladesh Shilpakala Academy to expand theatrical activities, stating, "We have already reached the district level and aim to extend our work to the upazila level in the future, covering theatre, folk drama, and music." He also urged all theatre groups to come together, adding, "We must move forward, and we must ensure that Baul music festivals, kite festivals, theatre, and dance performances continue uninterrupted. Any disruption to these activities will not only harm our artistic practices but also damage our reputation across the world. I call upon theatre groups to unite and present to the people our vision of the Bangladesh we desire." Following the inaugural session, the play 'Dwip' was staged by Natyatirtha as the inaugural play of this year’s festival. Open to all, the festival will continue till February 28, with two plays daily from 6 pm onwards.

The Warrior Within Festival, an immersive wellness event organized by Dhaka Flow, concluded successfully at the Airforce Basecamp in Agargaon, Dhaka. The three-day festival, held from February 13–15, attracted hundreds of participants seeking holistic well-being through activities centered on healing, resilience, and self-discovery. Running daily from 10 am to 8 pm every day, the festival aimed to reconnect attendees with their inner strength through yoga, breathwork, sound healing, and storytelling sessions. The serene surroundings at the Airforce Basecamp, enriched with lush greenery, created an ideal space for reflection, healing, and community bonding. A highlight of the event was the participation of wellness practitioners, artists, and spiritual leaders, who led workshops on emotional resilience, creative expression, and mindful movement. Attendees engaged in yoga sessions, guided meditations, and interactive art therapy, learning practical tools to manage stress, anxiety, and personal challenges. “This festival was about more than just wellness; it was about transformation,” said celebrated yogini and Dhaka Flow Co-founder and CEO Shazia Omar. “We saw people confront their fears, embrace vulnerability, and walk away with a deeper understanding of their own power.” '12 Stories': Gallery Shilpangan's group art exhibition underway at Bhumi Gallery

A special group art exhibition titled '12 Stories' is currently underway at Bhumi Gallery in the capital's Lalmatia, organized by Gallery Shilpangan. Opened on Sunday, February 9, the exhibition showcases a total of 60 artworks made by 12 renowned, young and promising artists. The inauguration event of the exhibition was joined by Ekushey Padak-winning renowned artist Kanak Chanpa Chakma as the chief guest, while the distinguished artist and art critic Javed Jalil and art connoisseur Muntasir Moin joined as special guests. Participating artists of this group art exhibition are Azmeer Hossain, Nabaraj Roy, Kamaluddin, Moazzem Jhony, Tarek Amin, Ajoy Sannyal, Sourav Chowdhury, Babul Hossain Shohagh, Manik Bonik, Deepika Bhuiyan, Azmol Hosen and Khaidem Sithi Sinha. "This exhibition is showcasing five artworks of each artist, and in total, there are 60 artworks," artist Nabaraj Roy informed UNB. "With cordial participation by renowned and promising artists of our country, this exhibition has become a rendezvous of senior-junior artists," Nabaraj said regarding the exhibition. Deepika Bhuiyan, another participating artist in the exhibition, said: "We, the 12 participating artists in the exhibition, have tried to showcase our country’s culture and heritage through their individual artistic expertise. For example, I have amalgamated folk art with the traditional imagery of our Bengali women, to portray their emotions and feelings through my artworks." The exhibition will be open daily from 3pm to 8pm till February 20.

Offering an immersive experience with an invitation to step into a world where art and nature merge, where imagination runs free, and where every brushstroke breathes life, Singapore-based Bangladeshi artist Jamil Khan’s solo exhibition titled ‘Imagination’ was inaugurated on February 13 at the Garden Gallery Cosmos in Dhaka’s Baridhara. Organized by Gallery Cosmos, the two-day exhibition is the third solo of the artist and the second with the gallery. His previous exhibition, ‘Inspiration’, was organized by Gallery Cosmos in November 2023. Showcasing around 30 artworks—created in Singapore and Dhaka using sketching on pencil, acrylic, and oil paint—Jamil’s artistic journey from ‘Inspiration’ to ‘Imagination’ has been one of resilience, of finding light in the shadows, and of translating nature’s rhythm into strokes of color and form. The inauguration ceremony of the exhibition on Thursday was joined by distinguished guests alongside family, friends and admirers of the artist, who was born into a family known for upholding and providing patronage to the country’s diverse arts and talented artists. Artist Kalidas Karmakar's 79th birth anniversary observed in Faridpur Cosmos Foundation Chairman, Cosmos Group and Gallery Cosmos Founder and UNB Emeritus Editor Enayetullah Khan; Gallery Cosmos Director Tehmina Enayet; Vice President of the Cosmos Group, Executive Director of Gallery Cosmos and Executive Editor of UNB Nahar Khan, Honorary Consul of Ireland in Bangladesh and Cosmos Group Deputy Managing Director Masud Khan and other distinguished guests were present at the inauguration. Former Adviser on Foreign Affairs of Bangladesh caretaker government and Cosmos Foundation President Dr Iftekhar Ahmed Chowdhury; Korean EPZ Corporation Bangladesh Limited President Jahangir Sadat; former diplomat and President of the Bay of Bengal Institute Ambassador Tariq Karim, prominent artist Maksuda Iqbal Nipa, family members of the late eminent artist Kalidas Karmakar and others were also present at the event. Inaugurating the exhibition, Enayetullah Khan said, "It is my great pleasure to welcome you to this fantastic exhibition of Jamil on this lovely afternoon on Spring’s eve. From his kindergarten days, I sensed that he was very creative and full of enthusiasm. He created the majority of these pieces while living in Singapore, and he worked at the Gallery Cosmos studio after returning to Bangladesh.” "The artist and all those connected to Gallery Cosmos are entitled to my heartfelt appreciation, especially Jamil’s sister Nahar Khan, Gallery Cosmos Artistic Director Sourav Chowdhury, and, above all, Gallery Cosmos Director Tehmina Enayet, for fulfilling her roles as both an art promoter and a mother. I will always remember this evening as one of the most amazing evenings of my life," Enayetullah Khan remarked.

Work to give 21st-century London yet another skyscraper has uncovered traces — in fact chunks — of the city’s origins almost 2,000 years ago. Archaeologists exploring the site of a planned 32-story office tower announced Thursday that they have unearthed the remains of a Roman basilica that once stood at the heart of the city known as Londinium. Excavations in the basement of a building slated to be demolished for the tower at 85 Gracechurch Street uncovered flint, brick and ragstone walls and foundations, up to 1 meter (over 3 feet) wide, 4 meters (13 feet) deep and two millennia old. Sophie Jackson of Museum of London Archaeology called it “one of the most significant discoveries” in years in London’s oldest quarter, the City — the square-mile financial district where modern glass high-rises stand atop the remnants of Victorian, medieval and even earlier structures. What’s been uncovered are the foundations of a two-story building, almost as big as an Olympic swimming pool. It was constructed between 78 and 84 A.D., about three decades after Roman troops invaded Britain and some 20 years after forces of the Celtic warrior queen Boudicca sacked the fledgling settlement. With metal detectors and patience, amateur treasure hunters unearth pieces of British history The basilica was part of the forum, the social, political and commercial heart of Roman London, where people went to shop, mingle, seek justice and hear the latest edicts from political leaders. The newly discovered remains are believed to form part of the tribunal, a raised area of the forum where politicians and officials made decisions about the city’s governance. “It’s the beating heart of the city,” said Andrew Henderson-Schwartz, head of public impact at Museum of London Archaeology. “It kind of towers above the city. And so it’s a real symbol of Roman power and authority. “We’re talking about the early stages of London here, but it’s a real sign of investment in the city, even in its early infancy,” he said. Developer Hertshten Properties, which owns the site and has planning permission for a new office tower, has agreed to incorporate the remains into its plans and put them on display in a visitor center. Henderson-Schwartz said the extent of the “absolutely massive” foundations discovered in several test pits suggests an “extraordinary” level of preservation. Further digging could answer intriguing questions, including why the original forum was only used for 20 years before being replaced by a much larger one, which remained in use until the collapse of Roman rule in Britain three centuries later. Items such as writing tablets, styluses — even ancient trash — could give glimpses into the daily lives of Roman Londoners. Property developers in Britain routinely have to consult archaeologists as part of their planning process, a practice that has uncovered finds from Saxon jewelry to medieval ice skates to the skeletons of 14th-century plague victims. The latest discovery adds to the scant traces of Roman London that can be seen around the city, including a section of ancient wall, a portion of amphitheater beneath the Guildhall and a temple to the god Mithras which lies incongruously under the modern headquarters of information company Bloomberg. "We do have these little windows into Roman London that are all over the city,” Henderson-Schwartz said. “But this is really in some ways the site that connects them all together. This is the heart of Rome in London, where all the decisions were made.”

When Malcolm Weale saw the tiny, dirt-covered object he’d unearthed in an English field, he knew it was something special. In his hand was a silver penny minted during the reign of Guthrum, a Viking commander who converted to Christianity and ruled eastern England in the ninth century as Athelstan II. For Weale, finding the first silver coin minted by a Viking ruler in Britain was the pinnacle of decades of hunting with his metal detector in the fields and forests near his home in eastern England. “I was shaking,” Weale said at the British Museum, where the coin was displayed Tuesday alongside other items unearthed by amateur history hunters in 2023 and 2024. “I knew that it was a life-changing, incredible, historical find. “I’d watched the series ‘Vikings’ on Netflix, and about a week later I’ve got the Guthrum penny in my hand," he said. The thrill of finding fragments of history beneath our feet drives detectorists like 54-year-old Weale, who was introduced to the pastime at the age of 7 and “was hooked.” His find was on show as the museum released its annual report on the Portable Antiquities Scheme, a government-funded project that records thousands of archaeological discoveries made by the public each year. The coin sat alongside a set of 3,000-year-old bronze metalworkers’ tools, a seventh-century gold and garnet necklace, and a gold signet ring with an intriguing link to Queen Elizabeth I. Restoring a titan: The daunting task of reviving Rubens' masterpiece They have been officially classed as “treasure” by a coroner, meaning they will be independently valued and offered to local museums. Discoveries by detectorists, as well as beachcombers and mudlarkers — who search for items on riverbanks — shine new light into corners of British history. The necklace of glittering gold and garnet pendants found in Lincolnshire, central England, reveals the sophistication of Anglo-Saxon craftsmanship, and is surprisingly global. Archaeologist Helen Geake, who serves as a “finds liaison officer” for the antiquities program, said that it was likely made in England – “English craftsmen were by far the best in Europe” – with garnets from Sri Lanka. Andy Akroyd, 49, also struck gold when he was out metal detecting near his home in Bedfordshire, central England. “When I first saw it, I thought ‘Oh it’s a coin.’ Then I saw it’s a ring, I was thinking 1980s, cheap sovereign ring,” Akroyd said. It turned out to be a 16th-century signet ring engraved with a phoenix, a mythical bird symbolizing rebirth that was associated with Elizabeth I. Found in an area used as a royal hunting ground in Elizabethan times, it was likely worn, and lost, by one of the queen’s supporters. “When you find it, your journey is just beginning,” Akroyd said. Then come the questions: “What is this, how is it here?” When items are declared treasure, their value is split between the finder and the owner of the land where it was found. Detectorists occasionally strike it rich – last year, a hoard of 1,000-year-old coins found in southwest England sold for 4.3 million pounds ($5.3 million). Oprah Winfrey opens 2025 with an encore. 'A New Earth' is her book club pick for a second time But the vast majority are in it for the thrill of discovery, not the money, Weale said. “You could be a multi-multi-millionaire, but you could never buy that feeling that you feel when you find something,” he said. Both he and Akroyd say that they will soon be back out tramping the fields, in the mud and — this is England, after all — the rain. “You always find the best stuff when the weather’s terrible,” Weale said. Both men extol the mental health benefits of the methodical, slow-paced hobby, popularized to a wider audience by the gentle BBC sitcom “ Detectorists.” “All I’m thinking about when I’m out metal detectoring is history,” Weale said. “Kings, queens — I’m totally in the zone. I’m not worried about bills, or even keeping warm. Sometimes I forget to eat.” Akroyd said that some days he just sits, watching hares leap and birds of prey soar in the sky. “I lost my dad last year. I’ll have a chat to my dad when I’m out in the field. ‘Come on, Dad — what way now?’” Akroyd said. “He never finds me anything.”

With a commitment to reviving traditional crafts and fostering creative innovation, the third edition of Dhaka Makers is currently underway at Aloki in the capital. Kicked off on January 30, the five-day event has drawn attention with its unique zoned layout, vibrant activities, and engaging displays.   Building on the success of its previous editions, the festival offers a platform for fresh ideas, innovative showcases, and a deeper connection between creators and the community, according to its organizers. The opening ceremony was held on Thursday night, joined by Mohammad Mahbubur Rahman, Additional Managing Director & Chief Financial Officer of City Bank; and Susan Vize, Country Representative of UNESCO. In their remarks, the speakers praised the initiative and its contributions and artistic tributes to the country’s creative and cultural landscape. While the formal opening marked a significant start, the real charm of the festival lies in its marketplaces, live demonstrations, and interactive exhibits, according to the organizers.

When an iconic painting is in need of restoration, it is usually taken to a studio to be worked on in seclusion. In the case of a massive Peter Paul Rubens masterpiece in the artist's Belgian hometown, the studio had to be taken to the painting. In the largest room of Antwerp's Royal Fine Arts Museum, the restorers have the eyes of visitors on their backs and — sometimes — criticism ringing in their ears. At 6 meters (19.6 feet), the “Enthroned Madonna Adored by Saints,” a lush swirl of flesh, fabric and drapes, stands taller than an adult giraffe. A team of six restorers is poring over it for a two-year cleanup, which is scheduled to end this fall. Compare that to Rubens himself, who could put paint to canvas on such a massive work in only a few weeks. No wonder such panache, the grand gesture in a simple brushstroke, left all in awe — then and now. Rubens, perhaps Antwerp's most famous son, painted the work in 1628 in the studio of his house in the city. “It's such a flamboyant painter that, yeah, we love it,” said Ellen Keppens, grasping for the proper effusive words. Together with her twin sister, Jill, Ellen is leading an international team of six women restorers. On a recent morning, they were applying undertones to the Baroque masterpiece, sometimes crawling along the wood-paneled floor to apply a touch here or there. Later, they had to crouch under a metal staircase before heading up to the top corner for another dab of retouching there. Who ever said art restoration was not physical labor? Theft in Netherlands of ancient golden helmet leaves Romania distraught “Like our colleague says, she's become really good at yoga,” said Keppens of a team member. “You notice that you can bend in all kind of angles in front of a painting.” When a crick in her neck gets too bad, she can just walk to the computer desk next to the painting for some administrative work. She'd better not look too far to her left down the room known as the Rubens gallery. At the other end stands another iconic work of the master, equally daunting and gigantic, and also badly in need of restoration: “The Adoration of the Magi.” Koen Bulckens, the curator of the Baroque section at the museum, knows the challenges ahead. “We will use this studio now for the treatment of this work,” he said, looking at the Madonna, the brightness of the original paint revealed after the painstaking removal of aged varnish. Then, he said, comes "another work, which is the ‘Adoration of the Magi.’" And the clock is ticking. “The project is set to end in 2027, which will be the 450th anniversary of Rubens' birth. So it will be a jubilee year," Bulckens said. As with so many centuries-old paintings, the biggest problems are old varnish and bad previous restorations. “This work was covered by a very exceptionally, I must say, thick and yellow varnish which distorted on the one hand the colors, but on the other hand also the brushwork, which had become impossible to see,” said Bulckens. A 2,000-year-old statue found abandoned in garbage bag in Greece In addition, two paintings hanging on either side of the Madonna had been cleaned 35 years ago, leaving the Rubens in the middle looking jaundiced. “It was obvious how yellow it looked. You can play with the museum light to make it a bit bluer, but that was really not a definitive solution,” he said. Removing the varnish, though, left the painted surface with a dull complexion. Restorers working in a studio know the removal is part of the process and the final result will only look more splendid later. At the museum itself, some visitors were convinced the beloved painting was being ruined and, despite the ample "do not disturb" signs, let their concerns be known. “Some absolutely we don’t realize it. And then they think, like, was it a good idea? Yes, of course it was a good idea,” said Keppens. “We know what's going to happen next,” once new varnish and touches are applied. “Sometimes you have a moment to explain to visitors, but often we are just working and, yeah, but then we hear the comments in the background, of course,” Keppens said. Standing up for the master — and for their own work — now comes naturally. After dealing with Rubens, month in and month out, “he is a very large part of our lives.”

Turongomi Repertory Dance Theatre will present its renowned production Waterness at National Theatre Hall of Bangladesh Shilpakala Academy at 7:30pm on January 30. Waterness is a bilingual (Bangla and English) dance theatre performance, inspired by the life of Rabindranath Tagore and dedicated to Kadombori Debi. With a runtime of 45 minutes, it seamlessly blends dance and narrative theatre, offering an unforgettable artistic experience. Curtain rises on 43rd Jatiya Rabindra Sangeet Sammelan This year marks a significant milestone as Turongomi celebrates 10 years of Waterness. The production was first premiered on January 21, 2015, and has since been staged 11 times in total, receiving widespread acclaim both in Bangladesh and internationally. It continues to captivate audiences, maintaining its relevance and success throughout the years. The production is Scripted by Dheeman Bhattyacharyya, Music by Suman Sarkar, Light by Amlan Bishwas, Concept, Design, Choreography and Direction by Pooja Sengupta. The cast features Pooja Sengupta, Atik Rahman, Prantik Deb, Yasna Rahman, Lopa Adhikari, Adrija Sengupta, Shakil Ahmed, Sanzida Sandhi, Pushpita Shil and others. The production is sponsored by Berger Paints Bangladesh Limited. The event is open to all, and tickets will be available for purchase at the venue’s box office on the day of the performance.

The prize in this art heist is worth more than its gold. To Romania, the ancient helmet is a priceless cultural heirloom. To the Netherlands, it’s a stolen artifact that authorities hope to retrieve to uphold a reputation for safe museums. The intricate golden Cotofenesti helmet dates back some 2,500 years and is one Romania’s most revered national treasures from the Dacia civilization. It was on display at the small Drents Museum in eastern Netherlands on the last weekend of a 6-month stint when thieves nabbed it. The theft of the helmet and three golden wristbands also on display sent shockwaves through the art world, and devastated Romanian authorities who thought they were loaning the items to a nation where security for museums was paramount. “It is a pitch dark day for us,” museum director Harry Tupan said. Investigators had found few clues by late Monday beyond a burnt-out car close to the museum, indicating the thieves wanted to cover their tracks. Romanian President Klaus Iohannis said the artifacts have “exceptional cultural and historical importance” for Romanian heritage and identity, and that their disappearance had “a strong emotional and symbolic impact on society.” It was a heist that “even in our most pessimistic dreams, we would not have believed possible,” said the director of Romania’s National History Museum, Ernest Oberlander-Tarnoveanu. A 2,000-year-old statue found abandoned in garbage bag in Greece Romanian Justice Minister Radu Marinescu called the incident a “crime against our state” and said recovering the artifacts “is an absolute priority." The helmet's fame and dramatic studded appearance means it could never easily be sold, raising fears the thieves were after the gold itself. “It is simply unsellable. The whole world knows it. So, they likely went for the gold to — I almost dare not utter the words — melt it,” said Dutch art expert Arthur Brand. That would reduce the treasure to a fraction of its cultural and historical value. Gold stands at about 85,000 euros ($89,000) per kilo and the helmet is estimated to weigh slightly less than that. “It is not only about the gold. It is about the cultural heritage,” Tupan said. “And it has been taken in a strange way and hurts incredibly.” Top Reasons Why London Is Tripadvisor's Best Travel Destination for 2025 On grainy security video distributed by police, three people are seen opening a museum door with a big crowbar, after which an explosion is seen. Then they must have made off with the loot in a matter of minutes. “Security, as it is supposed it be, was as far as we know, totally as it should be,” Tupan said. “And now, it is a small battlefield. There is nothing else for us to do but sit and wait and see what will happen.”