The ongoing "Dhaka Makers 3" is showcasing the vibrancy of Bangladesh's contemporary art scene while also serving as an exhibition for both traditional and contemporary crafts. Through a series of hands-on workshops, participants have been introduced to the timeless techniques and motifs of Bengali craftsmanship, allowing these age-old traditions to thrive in a contemporary setting.

One of the standout experiences of the event was the "Calligraphy 101" workshop, facilitated by Nazm Anwr. Participants were introduced to the delicate strokes and rhythmic beauty of calligraphy, learning the foundational techniques that have shaped this centuries-old art form. The workshop was structured in two phases. Firstly, participants honed their skills with essential tools, practicing elegant letterforms. The second phase saw attendees collaboratively creating a grand calligraphy piece, emphasising the communal nature of art. This workshop highlighted how traditional calligraphy continues to be a meaningful medium for expression, seamlessly blending history with modern creativity.

In a similar vein, the "Nakshi Kantha Inspired Bhoot Illustrations" workshop invited participants to explore Bengali folklore through the lens of nakshi kantha, the intricately embroidered quilts that tell stories through their stitchwork. Guided by Rumana Yasmin, Katerina Don, and Farah Khandaker, attendees delved into the rich tapestry of spooky folklore, combining traditional nakshi kantha patterns with the chilling motifs of ghosts and mythical creatures from Bengali culture. This workshop was an innovative fusion of old and new, where the timeless tradition of nakshi kantha found a fresh expression in modern illustration techniques, breathing new life into a beloved art form.

Another notable workshop was "Aa mori bangla bhasha", a session dedicated to Bengali calligraphy and typography, led by Sabyasachi Hazra. This workshop allowed participants to immerse themselves in the beauty of Bengali script, learning the art of crafting visually striking Bangla lettering. Through this hands-on approach, participants developed a deeper appreciation for the art of Bengali calligraphy and typography, which is deeply rooted in the country's cultural identity. Hazra's guidance helped attendees grasp how traditional calligraphy can be a medium for contemporary artistic expression, connecting generations through the refinement of written language.

The "Rupokotha Pattachitra Karmoshala" workshop brought the intricate world of pattachitra to life. Led by the renowned Nikhil Chandra Das, this session allowed participants to explore the history and techniques behind pattachitra paintings, a traditional Bengali art form known for its vibrant depictions of mythology, nature, and daily life. The participants learned how to mix natural pigments and apply them to canvas, gaining firsthand experience of the painstaking process involved in creating these detailed paintings. This workshop underscored the importance of preserving pattachitra's techniques while encouraging attendees to add their interpretations, ensuring that this heritage continues to thrive in the modern world.

The rich tradition of terracotta art was also showcased through the "Tepa Putul" workshop, led by master clay artist Sunil Pal. Known for creating terracotta figurines, a craft that has been passed down through his family for generations, Pal shared his expertise with the participants. The session involved the intricate process of shaping clay and creating unique terracotta sculptures. By guiding participants through this tactile art form, Pal not only preserved the technique of making tepa putul but also demonstrated how traditional terracotta art remains relevant in the modern creative landscape, with the potential to inspire new artistic expressions.

Another workshop that bridged traditional craft with modern creativity was "Light as a Feather: Exploring the Art of Shola" with Gopendra Nath. Shola, a lightweight material sourced from the forests of Bangladesh, has long been used to create decorative art pieces, including flowers, figurines, and other delicate designs. In this session, Gopendra Nath, an expert in shola craftsmanship, led participants through the process of working with this material, showing them how to cut, shape, and assemble it into intricate art pieces. The workshop provided a unique opportunity to engage with a sustainable art form, highlighting the importance of preserving shola's cultural significance while also offering new avenues for modern artistic exploration.

The "Dhārā featuring Master Weavers, Rajon Miah" workshop, centred on Dhakai jamdani weaving, was another highlight of the event. Rajon Miah, a renowned master weaver from a long line of jamdani weavers, offered participants a hands-on experience with this centuries-old textile tradition. Jamdani weaving, known for its intricate motifs and exceptional craftsmanship, is a vital part of our cultural heritage. Participants learned how to prepare yarn, create traditional motifs, and work with the loom to weave their own pieces of jamdani fabric. This workshop provided a rare, immersive experience that connected participants to the deep cultural and historical roots of this revered art form.

The workshop "Folklore & Comic Books: Stitching Stories through Nakshi Kantha" took a unique approach by combining folklore with the modern art of comic book illustration. Facilitated by Mahenaz Chowdhury from Broqué, Kusum Begum, and Reesham Shabab Tirtho, this session encouraged participants to draw inspiration from the folklore of Mattabari Island, particularly focusing on the tradition of nakshi kantha. Attendees worked to create comic book characters and stories that blended the motifs of nakshi kantha with contemporary comic book aesthetics. This innovative fusion of folklore and modern illustration demonstrated how traditional art can evolve and adapt to new forms of storytelling, reaching younger generations through an accessible and engaging medium.

Finally, the "Terracotta Transformations: Making Clay Masks" workshop, led by Tanjila Siddiqye, introduced participants to the world of terracotta mask-making, a craft with roots in Bengali folk traditions. Terracotta masks have long been used in rituals and as decorative pieces in Bengali culture. In this workshop, participants explored the techniques involved in shaping terracotta and learning to craft their own masks. This session provided a hands-on experience of an art form that is often overlooked, allowing participants to appreciate its historical and cultural significance while creating lasting, personal works of art.

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Time and again, "Dhaka Makers 3" has proven to be a space where these crafts are reimagined and reinterpreted through modern lenses. The workshops fostered a deeper understanding of the historical and cultural contexts of each art form, while also encouraging participants to push boundaries and explore new possibilities.