The stage was decorated with peacocks and butterflies, and amidst these colourful presences were the talented students of Kanon, a specialised institution of the Autism Welfare Foundation (AWF), with their vibrant mediums of artistic expression.
To have passed by the Shontrash Birodhi Raju Sharokh Bhashkorjo (Anti Terrorism Raju Memorial Sculpture) one day and to then have stood before its maker the next, was a surreal experience. The moment felt extraordinary, yet, the man I stood before made the the interaction remarkably humble. To me, speaking with sculptor Shyamal Chowdhury equalled reconnecting with an old friend — as though he was back in the art scene after years and was describing art like it were the essence of his existence.
Once the attendees were let in, the hall was barely half-filled. Overlooking the big red curtains of the stage, a mother cat and kitten duo playfully wandered around the auditorium for an unscheduled and whimsical first act of the show. Who could have predicted that the hall full of audience would surge to the front, midway through the show, transforming the seated concert into a captivating celebration?
With each artist contributing two paintings, the exhibition features 108 artworks spread across the well-lit gallery. While there is no singular theme, the collection underscores the intricacy and versatility of watercolour as a medium. Encompassing diverse subjects—from the seasons of Bangladesh to urban vignettes, rural landscapes, the July uprising, and abstract compositions—the exhibition offers a broad spectrum of artistic expressions.
It’s almost impossible not to talk about Chandler Bing when talking about Matthew Perry when the man behind the character himself said, "It wasn't that I thought I could play Chandler; I was Chandler."
Art has always played a significant role in Bangladesh, from moving songs during the Liberation War to modern-day political art. Emphasising this historical context alongside the influence of today’s artists, ‘Day 2’ featured the second dialogue, titled “Artists Leading Paths: Artists in Policymaking.”
“Hatirpool Sessions” began its journey four years ago, offering a perfect blend of simplicity and depth. Its lyrics have given voice to unspoken emotions, connecting with everyday experiences. Now, collaborating with around 25 different artistes—both new and seasoned—the platform is just days away from unveiling its much-awaited third season.
In the dimly lit gallery, decorated with revolutionary-themed art, Anusheh Anadil spoke about love and revolution. A circle of people gathered to discuss the changes they hoped to see in post-revolution Bangladesh. Outside, raindrops tapped gently, while the sound of the Tanpura filled the air. A cat, wearing a blue bandana, wandered through the audience during the inaugural session of the two-week-long festival “Re-love-ution” or “Premandolon” at Jatra Biroti in Banani.
One moment it’s gently snowing down outside the beautiful Ubuyashiki mansion, with a surreal atmosphere between a relentlessly powerful demon and a dying human. In the next chilling few seconds, an impeccable spectacle of a nuclear explosion rises from the heart of the mansion, engulfing the beings inside in vivid glimmers of fire.
Amit Raye had an eye for the unaccustomed, Labanya was not going to be limited by customs. With Parambrata Chatterjee’s eyes speaking volumes as Amit, and Dr Sreya Sen in Labanya’s free-spiritedness, Rabindranath Tagore’s characters from “Shesher Kabita” have come alive in the photostory exhibition, titled “Shesher Kobita a photostory by Bowner Dighi”, underway at Bangladesh Shilpakala Academy.
Entering the photo exhibition’s gallery, white curtains gently swayed, displaying cyanotype prints of the portraits of Birangonas (Bangladeshi female freedom fighters), much like how their valiant stories have been hidden behind the curtains for far too long.
The man behind the song, Pankaj Udhas, brought Ghazal to the masses, popularising it and making it accessible to the multitude not only in his country India but also across the globe with his calm and controlled voice that won everybody’s hearts.
It was the first day of the 22nd rendition of "Amar Bhashar Cholochitro 1430", organised by the Dhaka University Film Society (DUFS). Following tradition, the programme venue—TSC at Dhaka University premises—gracefully adorned its annual cinematic ambience with vibrant posters of Bengali classics placed across its expanse. Featuring 20 Bengali-language films from the East and the West, this year's event would run from February 12 to February 16.
Shonar Bangla Circus took its fans aboard “The Hyena Express” one last time in Dhaka last night by revisiting all the tracks of their debut album, singing songs old and new, amidst performance arts and poetry fused in psychedelic rock.
Anika Roy’s first solo exhibition titled “Window” was inaugurated on September 10, where she answered the aforementioned question through her series of paintings and installations. Using pen, pencil and other colouring mediums, Anika tells the story of her perspectives as she meandered through the lane of her artworks.
“Texture and mixture”, with 67 artworks on display, was inaugurated on July 28 at Kala Kendra in the presence of economist and writer Anu Mohammad, and political activist, feminist and environmentalist Khushi Kabir.
“Bhalobashi Jyotsnay: the tribute concert for Tapas Bapi Das” took place yesterday evening at the Liberation War Museum auditorium in the presence of 36 talented artistes of Bangladesh.
Gendering dance is a widespread practice, and classical dance is one of the main victims. While spectators wait to see women dance to soft and graceful moves in the field of dancing, men need to be rough and tough.
