The Theatre Artists Association of Dhaka (TAD) has expressed disappointment over the proposed national budget for the cultural sector for the 2025–26 fiscal year.
Twenty-five rare paintings by the late Indian modernist Maqbool Fida Husain, offering his sweeping perspective on the 20th century, are set to go under the hammer on June 12 in Mumbai.
In a typical Banksy twist, the artwork plays with perspective. A nearby bollard casts a false shadow across the pavement, cleverly shaping the lighthouse’s silhouette, making the mundane seem monumental.
More than just a home for the arts, it has long been a custodian of collective memory, responsible for shaping a culturally enriched, humane Bangladesh, rooted in its historical context. Despite its undeniable impact in preserving traditions, amplifying artistic expression, and cultivating national identity, the institution has long been a target for political manipulation, corruption, and political parties’ quests to control the cultural conscience of the country.
Bipasha Hayat’s deep-rooted passion for art has long been visible through her work and social media presence. A dedicated and ever-evolving artist, she continues to challenge herself by participating in exhibitions and immersive art programmes around the world. Her latest achievement marks a significant milestone—being officially selected as a participant for the All About Curating (AAC) Art Intensive programme in Bogotá, Colombia.
“Twenty Nine Seconds” unpacks the harrowing 2022 incident in which Rushdie was attacked onstage in New York, losing vision in one eye and nearly losing his life. It also traces the aftermath — psychological, physical, and artistic — that followed. Sen’s production brings Rushdie’s voice to life through Shah’s commanding presence, marking their first collaboration in theatre. Notably, the two have previously worked together on screen.
The festival received an overwhelming response, with 322 film submissions from across the country. After careful consideration by the selection committee, 89 films were chosen for screening—60 fictional shorts and 29 documentaries. These films were selected based on their artistic merit, storytelling prowess, and relevance to contemporary social issues.
Bangladeshi artist Suborna Morsheada made an impressive debut at the Révélations International Fine Craft & Creation Biennial in Paris, with support from the Durjoy Bangladesh Foundation.
Advance ticket sales for the play have already begun through Bangla Theatre. The venue, Riddhi Gallery, is conveniently located near the Mirpur-11 Metro Station, making it easily accessible for interested audiences from across Dhaka.
At its core, "Macbeth" is a tragic tale of unchecked ambition, lust for power, and betrayal. It follows the story of a courageous general, Macbeth, whose relentless ambition drives him to murder King Duncan, seizing the throne for himself.
The summit was officially announced in Bangladesh at a launch event held at the Indira Gandhi Cultural Centre in Dhaka, today, alongside a discussion celebrating 111 years of Indian cinema. The event, organised by the High Commission of India in Dhaka, highlighted the objectives and potential global impact of WAVES. Ann Mary George, first secretary (Culture) at the High Commission of India, shared the vision for WAVES, stating, “We aim to make this an annual event, much like the World Economic Summit in Davos or the Raisina Dialogue for foreign policy. This will be a landmark platform for media and entertainment.”
The Department of Theatre at Jagannath University staged a play titled “Jujuburi”, a narrative adapted from Badruzzaman Alamgir’s story “Aber Pankha Loiya”, as part of the postgraduate production for the 2021–22 academic session. Held at the department’s studio theatre today at 12pm, the performance was directed by Theatre Department’s Professor Kamal Uddin Kabir.
Directed by French playwright Zazie Hayoun Jazzy, “Song of Hawkers” focuses on the daily lives of Dhaka's hawkers through three light-hearted stories—“The Secret”, “The Thief Rewarded”, and “The Competition”.
Renowned artist Professor Rokeya Sultana has been awarded the prestigious Ekushey Padak this year for her outstanding contributions to fine art. As an internationally recognised artist and a Fulbright Fellow, her deep and unique artistic expression has made her one of the most significant contemporary painters in South Asia.
Anjan Dutt is returning to where it all began—the theatre. After over four decades in cinema, the "Dutta Vs Dutta" star has announced his final stage appearance. His last play, "Aro Ekta Lear", premiered to praise, and is set to return on March 9 again at Kolkata's Gyan Manch. Advance tickets are already available for those eager to witness this final performance.
As I walked into Kalakendra in the capital’s Lalmatia area, I was unsure what to expect from Kabir Ahmed Masum Chisty’s solo exhibition, “Meghnad Badh”, curated by Lala Rukh Selim. I did not personally know the artist or his body of work, yet I was drawn to the premise—a visual reimagining of “Meghnadbad Kabya”, Michael Madhusudan Dutt’s magnum opus that transformed the perception of a character largely dismissed in the mainstream “Ramayana”. What struck me most was the exhibition’s engagement with what Sibaji Bandyopadhyay, in his book “Three Essays on the Ramayana” calls ‘dispersed textuality’—the idea that an epic exists not as a singular, authoritative narrative but as an intricate, layered text that absorbs contradictions and alternative voices.
As the ongoing allegations, contentions and discussions were addressed by the Cultural Advisor Mostafa Sarwar Farooki through his Facebook posts and the Ministry of Cultural Affairs through a press note, Syed Jamil Ahmed clears his stance once again in an interview.
Popular music composer Prince Mahmud has opened up about the issue. On Monday, March 3, Prince Mahmud wrote on Facebook, “Mostofa Sarwar Farooki is fine as an adviser. At least he is not being childish. He is sensitive and knows what to say and do in different situations. The situation demands someone like him.”
