The play, “Rangmahal”, was staged recently and received an encouraging response. Speaking to The Daily Star, Faruque Ahmed reflects on his professional debut as a director, audience reception, memories of Selim Al Deen, and what lies ahead.

Safiuddin Shilpalay inaugurated “The Color of Nature”, first solo art exhibition of artist Shahida Parveen on January 2.

Theatre organisation Ethik has announced that it will confer the Ethik Youth Award 2026 on 17 emerging theatre practitioners from 17 theatre groups across Bangladesh, recognising their contributions to contemporary stage practice.

“Tartuffe” is a bold and witty critique of religious hypocrisy, deception, and unquestioning belief. The play centres on Orgon, a wealthy man who blindly trusts Tartuffe, a fraudulent holy man.

The 16-day festival, which runs until January 31, will be open to the public and staged across multiple venues in the capital. The announcement came at a press conference held at DrikPath Bhaban.

Beyond his personal practice, Chowdhury’s most enduring contribution came in 1994, when, through sustained personal effort, he established the Narayanganj Institute of Fine Arts. The institution went on to play a pivotal role in decentralising art education and nurturing cultural practice outside Dhaka, shaping generations of young artists in the region.

The birth anniversary of Zainul Abedin, widely revered as Shilpacharya, is being observed today with tributes and commemorative programmes.

The doors are closing today at 9 pm. The event had audiences slow down, engage in conversations and explore works that celebrate local contexts, everyday absurdities and playful experimentation.

Several cultural organisations had scheduled the programme outside the Chattogram Shilpakala Academy on Saturday afternoon. According to the organisers, the event was aimed at protesting what they described as assaults on age-old Bangla cultural practices and the spirit of the Liberation War.

The festival opened with Kathak Nritya Shamproday’s dance drama “Prasanga 47”, written and directed by Saju Ahmed. On Wednesday, the troupe also staged “Shree Radhar Manvanjan”, another dance drama directed by Ahmed, further anchoring the festival in narrative-driven classical expression.

“Neel Moyurer Jouban”, adapted from Selina Hossain’s novel, unfolds less as a conventional play and more as a folk-epic meditation on Bangladesh’s never-ending search for identity.

On Tuesday afternoon, December 23, when the gates of Chhayanaut opened, it was clear this would not be a routine cultural programme, rather a peaceful cultural protest titled “Gaane Gaane Songhoti Samabesh”, as a large crowd gathered to show solidarity in response to recent attacks on cultural spaces and growing concerns over freedom of expression.

The two shows will be held on December 24 and 25 at 7 pm at the Studio Theatre Hall of Bangladesh Shilpakala Academy.

When cultural institutions crumble, archives burn, and instruments shatter, it is not merely walls that vanish—it is memory, identity, and moral courage. Culture cannot be revised; it is what history has written. Every assault upon it shakes the quiet foundations of a nation’s conscience.

The festival concludes on Saturday with Mahuya Manjari Sunanda performing Rabindranath Tagore’s lesser-known “Bhanga Gaan”.

The organisers said the programme seeks to reaffirm the role of music and culture as powerful tools of protest, resilience, and communal harmony in the face of intolerance.

There are exhibitions you walk into, and there are exhibitions that feel like you are stepping across a threshold into someone else’s world. “Pawmum Parban”, currently underway at Alliance Française de Dhaka, unfolds like the latter; carrying a depth that quietly rearranges how you look at a culture you thought you vaguely knew. I went in expecting an art show and left with the sense that a small group of children from the hills had succeeded in doing something the city often fails at: making us feel something beyond our own noise.

Anuswar Theatre is bringing back its acclaimed production “Mahashunye Cycle” with a fresh run at the Nilima Ibrahim Auditorium of Bangladesh Mohila Samity, a year after its stage debut. The play will be performed seven times over four consecutive days, from December 24 to 27.

Nearly every room was vandalised, property was looted, and parts of the building were set on fire. Police and army personnel arrived shortly after the incident, brought the situation under control, and extinguished the flames. Members of the Rapid Action Battalion (RAB) were also present at the scene.

Within the scarred walls of Chhayanaut, the repair of a broken harmonium is more than a maintenance task, it is an act of institutional defiance.