1. info@www.khulnarkhobor.com : khulnarkhobor :
শনিবার, ২২ জুন ২০২৪, ০১:৪৭ পূর্বাহ্ন
বিজ্ঞপ্তি/বিজ্ঞাপন
Copyright © 2022 KhulnarKhobor.com    বার্তা ও বাণিজ্যিক কার্যালয় : ৪৭,আপার যশোর রোড (সঙ্গীতা হোটেল ভবন) নীচতলা,খুলনা-৯১০০।ফোন:০১৭১০-২৪০৭৮৫,০১৭২১-৪২৮১৩৫। মেইল:khulnarkhobor24@gmail.com।জাতীয় অনলাইন গণমাধ্যম নীতিমালা আইনে তথ্য মন্ত্রণালয় কর্তৃক নিবন্ধন আবেদিত।স্মারক নম্বর:- ০৫.৪৪.৪৭০০.০২২.১৮.২৪২.২২-১২১।এই নিউজ পোর্টালের কোন লেখা, ছবি, অডিও, ভিডিও অনুমতি ছাড়া ব্যবহার বেআইনি।
খুলনার খবর
কেএমপি’র অভিযানে ৬০০ গ্রাম গাঁজা ও ২০ পিস ইয়াবা সহ  গ্রেফতার ৫ বজ্রপাতে কয়রার শিশুসহ নিহত ২ মাধ্যমিক পর্যায়ে স্কুল খুলবে ২৬ জুন বাগেরহাটে ৬০০ পরিবারের মাঝে খাদ্য সহায়তা বিতরণ করেন সংসদ সদস্য প্রতিনিধি লোহাগড়ায় নিরাপদ সড়কের দাবীতে মানববন্ধন কর্মসূচি পালিত চামড়া পাচার রোধে শার্শা সীমান্তে বিজিবি টহল জোরদার শার্শায় ট্রাকের ধাক্কায় ভ্যানচালক নিহত, ট্রাক ও ড্রাইভার আটক শার্শার পল্লীতে ককটেল বিস্ফোরণে দুই শিশু আহত কেশবপুরে এস,এস,সি-৯১ ব্যাচের ঈদ পুনর্মিলনী অনুষ্ঠানটি মিলনমেলায় পরিণত হয় কেন্দ্রীয় জাতীয়তাবাদী ছাত্রদলের সহ-সভাপতি হলেন পাইকগাছার লিটন খুলনায় ঈদের জামাত সকাল ৮টায় কোরবানির পশু হাট শেষ মুহূর্তে জমে উঠলেও-বিপাকে খামারিরা পাইকগাছায় ঘূর্ণিঝড়ে ক্ষতিগ্রস্ত পরিবারের মাঝে রেডক্রিসেন্ট সোসাইটির ত্রাণ সামগ্রী বিতরণ কেশবপুরে স্কুল ছাত্রীকে ধর্ষণ চেষ্টায় গ্রেফতার-১ ঝিকরগাছায় গরিবের ঈদের চাউল উধাও:বিতরণে অনিয়মের অভিযোগ নড়াইলে মোটরসাইকেল দুর্ঘটনায় কিশোর নিহত শার্শায় এবার ঈদের কেনাকাটা জমে ওঠেনি পবিত্র হজ্জ আজ নড়াইলে ঘেরের পাড় থেকে কিশোরের মরদেহ উদ্ধার এবি পার্টিতে নবাগতদের সংবর্ধনা

“Mangal Shobhajatra: The Socio-Political Dynamics Behind a Cultural Phenomenon”

  • প্রকাশিত : বুধবার, ৫ জুন, ২০২৪
  • ৪৪ বার শেয়ার হয়েছে

“Mangal Shobhajatra: The Socio-Political Dynamics Behind a Cultural Phenomenon”

PALLAB SAHA|| The birth of Bangladesh brought with it the hope for a secular, democratic, socialist country where Bengali culture would flourish. Along with Dhaka, art education institutions were established in Chittagong, Rajshahi and Khulna. State patronage of the arts was introduced through the establishment of the Bangladesh Shilpakala Academy. Artists got the opportunity to travel and see art in foreign countries and participate in international exhibitions; the new country built relations with the world in art and education. Contacts grew not only with Western art capitals but with India, Japan and China, bringing further changes in the art world. The Liberation War provided artists with a fitting subject and imbued figurative representation with new vigour. Visual arts during the autocratic rule of the Pakistan army from the late fifties were generally confined to the non-figurative forms. The war renewed in artists the search for inspiration from Bengali cultural heritage, a new urge to communicate with the people and efforts to incorporate social and political comments in their works. Vitality surged through the art world with a larger number of artists and a greater variety of media.

The enthusiasm of the early 1970s was dispelled with the political and economic crises that racked the new nation. The killing of Sheikh Mujibur Rahman in 1975 and the prolonged military dictatorship that followed shattered the dreams of liberation; religion again came to feature strongly in politics. In 1975 Major-General Ziaur Rahman, the founder of the Bangladesh Nationalist Party (BNP), assumed power through a coup and made constitutional amendments that facilitated the political rehabilitation of elements that had collaborated with the Pakistani forces and committed crimes against humanity during the War of Liberation, namely the Jama’at-e-Islami, the largest Islamist party in Bangladesh. In 1988 Ershad’s pseudo-military government declared Islam the state religion of Bangladesh amidst protests from the intelligentsia, further promoting ‘communal politics’. Ershad was forced from power in a massive movement for democracy. The movement, raging through the eighties, had artists actively participating as they had in all political movements. Mangal Shobhajatra was the birth child of that movement. According to Mansur ‘’Seen against this backdrop, abstraction, always present, regained prominence in art along with dictatorship, repression, corruption and violence also provoked direct political statements as well as satire and innuendoes (Mansur 2007: 61-62). Anti-imperialist and leftist concerns were manifested by some. A larger number of women artists established themselves in the art world showing feminist concerns and new representations of women. But the clear connection that could be discerned between art, politics and tradition through the contestation of ‘cultural autonomy’ and nation building dispersed after the nation was realized. While after partition, artists had appropriated formal elements from folk art, some artists now made a subtler attempt to contextualize tradition. Kapur (2000: 279) writes about modernism in the third world: Rather than distancing alternative civilizations into objects to be processed by western subjectivity, the nationalist intelligentsia makes some genuinely anxious and responsible appropriations within their own societies. If, then, in the postcolonial ethos all third-world texts appear to be national allegories, all national allegories attempt to restore conceptual wholeness to lost communities through the process of decodifying precisely the canonical images of an inherited tradition. In 1981 the Asian Art Biennale was organized in Dhaka, connecting it to the international art world. Japanese artists introduced trends that transformed the art world of the seventies. With the growth of information technology, the expansion of public media and international trade, artists began to express themselves in a variety of media. The visual influence of conceptual art such as installations, performances, videos and photography, was evident. Globalization and the rapid exchange made possible by the internet made the flow of information instantaneous. Both young and well- established artists ventured into this new ‘space’. Scattered efforts are seen in the nineties but in the 21st century they become more concerted. In the early years of the 21st century the Asian Art Biennale permitted local artists to participate with projects not limited to two and three-dimensional artworks. Foreign travel and networks with foreign organizations fed into this globalizing trend, leading to workshops and residencies with foreign and local artists working together. In the book ‘‘Politics and Security of Bangladesh’’ Professor Maniruzzaman shows how elections in 1991 reflected the relative strengths of Bengali nationalism and Bangladeshi nationalism.

Since the 1990s Dhaka has developed an art market and galleries with the associated circuit of curators, critics, collectors and artists. The state-run Shilpakala Academy for the promotion of arts. The concept of growing the cultural identity of Bangladesh, was becoming the core issue at that time. The fine art faculty students who had grown up with the idea of individual culture, trying to push traditional elements through different activities and Mangal shobhajatra was one of them. Connecting the local elements with people, made Mangal Shobhajatra a more heart-touching Bengali festival. But the elements which were made today did not come easily because, as an Islamic country there were a lot of restrictions on making figurative images. From the first year of its invasion, in Mangal Shobhajatra, only animal

figures were made like horse, tiger or owl.

 

The idea of picking a tepa doll for the procession was later started from 2008. In 2006, a statue of a large lemon peacock was the main attraction of Mangal Shobhajatra and in the next year a large statue of a yellow tiger was made. Instead of making real human portraits, they were trying to imitate the local terracotta sculptures which could not directly affect the Islamic sentiment. If we see the elements of Mangal Shobhajatra from 1990 to 1993, we can realize the concept of animal representation.

1990- Tiger and evil mask, peapock, owl, Buck and tiger of paper-mashed sculpture.

1991- Large elephant, tiger mask, artificial drum, numerous masks.

1992- Crocodile, tiger mask and others.

1993 (1400 in Bengal year) – Tiger, elephant, peacock, horse, and masks.

A Paper by PALLAB SAHA, Part-time Lecturer of History of Art Department, Faculty of Fine Arts, University of Dhaka.

শেয়ার করুন

আরো সংবাদ পড়ুন
Copyright © 2022 KhulnarKhobor.com মেইল:khulnarkhobor24@gmail.com।জাতীয় অনলাইন গণমাধ্যম নীতিমালা আইনে তথ্য মন্ত্রণালয় কর্তৃক নিবন্ধন আবেদিত।স্মারক নম্বর:-  ০৫.৪৪.৪৭০০.০২২.১৮.২৪২.২২-১২১।এই নিউজ পোর্টালের কোন লেখা, ছবি, অডিও, ভিডিও অনুমতি ছাড়া ব্যবহার বেআইনি।