The author is a Dancer, Cultural Activist and Researcher.
A unique feature of folk performative practices across Bangladesh is the bondona or requisite invocatory prelude, dedicated to the Guru, to Allah, to Goddess Sarasvati, and to other deities of diverse “Pantheons of Gods”, pronounced all in one breath, by the folk performers.
‘Tread lightly for you tread on my realities' (Playwright Connel Morrison, on the ethical dilemma of reducing the complexity of conflict situations into narrative theatre)
'It is the inbetween space that carries the burden of the meaning of culture, and by exploring this Third Space, we may elude the politics of polarity and emerge as the others of ourselves.' ― Homi K. Bhabha, The Location of Culture
Since August 2009 Bangladesh has been part of the Asia Pacific Region of the World Dance Alliance which 'serves as a primary voice for dance and dancers throughout the world'.
Tobin Thomas does Bollywood in Toronto, trading in the virtual dreams created by this larger than life Indian film industry. Based in Mumbai, it is India's – and the world's - largest film business in terms of the number of films produced, and also the number of tickets sold each year.
I left banking for comedy, because even my failures in comedy make me happier than my successes as a banker.
“What do you think an artist is? An imbecile, who only has eyes if he's a painter, ears if he's a musician...
While talking to Amit Patra, the scholar and independent filmmaker from Kolkata, invited to conduct a workshop on Documentary Film Production..
'What you do in this world is a matter of no consequence. The question is what can you make people believe you have done.' Arthur Conan Doyle
At the first Rector's Forum of the just completed 'Inaugural Conference of Music Education Alliance Across the Silk Road (MEASR)' held in
Theatre group Teerondaj's choice of Badal Sircar as the playwright to be presented during their agitprop event at 'Beauty Boarding', on April 28, 2017, Friday, was appropriate for two reasons.
As a riposte to 'Brexit', award-winning British theatre director Marianne Elliott states, “I feel that art, somehow, has to be at the heart of what's happening now.
At the beginning of yet another new year and then, yet again, coining of new resolutions, it will certainly be worth our while to resolve to critically evaluate where the world is heading.
The thought of three young Bangladeshi dancers in North America immediately conjures up images of distance, of 'otherness', of struggle.
After the Gulshan carnage, July 15, 2016 was the first day that Bangladesh Shilpakala Academy (BSA) opened its doors for public performances, to packed audiences in all three of its auditoriums.
For me, watching Naeem Mohaiemen's expository documentary,'Last Man in Dhaka Central', was essentially a trip down memory lane, reliving a time of hope.
We, the children of the language and cultural movement, of Bangladesh are heartbroken to witness, unfolding before our eyes, the phenomenon of an alien and mutant culture overtaking the very consciousness of our progeny, our nation. This is a consequence of a two-pronged assault.
In Bangladesh, after the scorching heat of 'grishsho', or summer, comes the monsoons and with it come welcome thunder, lightning and pouring rainfall.