Humans cannot live without joy. Even in deep sorrow, if someone finds a small source of happiness, it can provide them with the strength to move forward. As poet Rabindranath Tagore beautifully expressed, "আনন্দলোকে মঙ্গলালোকে বিরাজ সত্য সুন্দর" (In the world of joy, in the world of well-being, truth and beauty prevail).
During the Sultanate period (1204-1576), both rulers and subjects participated spontaneously in Eid celebrations. This cultural tradition became even more vibrant during the Mughal era (1576-1857). During the reigns of Mughal emperors Shah Jahan and Aurangzeb, Eid processions and fairs took on a grand scale, featuring poetry recitations, musical performances, and puppet shows.
In the Sultanate era, Eid was celebrated in a royal manner. Historical sources indicate that sultans organized special processions after Eid prayers, including military parades, displays of royal elephants and horses, musical performances, and a fusion of Arabic and Indian cultures. These events were made colorful by public participation, although they remained within the framework of Islamic culture.
Similarly, during the Mughal period, the Subedars of Dhaka organized Eid processions, featuring drum and tabla performances, beautifully decorated elephants and horses, and floral displays as they paraded through the city.
Carrying forward this Sultanate-Mughal tradition, a grand Eid festival procession took place in the streets of Dhaka today. To enhance the festive atmosphere, the Dhaka North City Corporation (DNCC) organized this procession, which began in Agargaon and concluded in front of the Parliament building after the Eid prayers.
According to The Daily Star, the entire Agargaon area resonated with chants of "Eid Mubarak, Eid Mubarak." The procession featured traditional musical instruments, decorated horse-drawn carriages, bullock carts, and vibrant displays.
Leading the procession was a musical band playing celebratory tunes. Participants carried placards with Eid greetings and messages to raise awareness.
At the forefront of the procession were five elegantly decorated horses, followed by 15 horse-drawn carriages. Additionally, ten puppet shows depicted historical events from the Mughal and Sultanate eras.
Similar to the Mangal Shobhajatra of Bengali New Year, this Eid procession included folk motifs, totems, and diverse sculptures representing humans, animals, and nature. There were also depictions of characters from Arabian Nights, such as Alibaba and the thieves, along with elephants and traditional bullock carts.
Although female participation was limited, some Hindu women also joined the procession. There was an unusual scene of a man sitting backward on a donkey—some claimed it symbolized Nasiruddin Hodja, while others interpreted it as a representation of a contemporary political figure.
The rhythmic beats of the band and drums inspired people to dance. Seeing city dwellers in prayer caps dancing after completing their Eid prayers challenges existing taboos. Religious clerics argue that traditional Islamic practices do not permit musical instruments and dance. In this context, an Eid procession is undoubtedly a novel experience for the younger generation. They enthusiastically exclaimed, "We've never seen an Eid like this before—it's the best Eid ever!"
Bangladesh’s culture is multi-dimensional and multi-layered. On one hand, we have folk traditions, and on the other, religious practices—these two have coexisted for centuries. However, recently, we have observed that similar cultural expressions are considered acceptable in one context but forbidden in another. Those who vehemently oppose the Mangal Shobhajatra on religious grounds seem to have no objections when the same folk motifs are used in an Eid procession. The question is: why this double standard? What is the mystery behind this cultural contradiction?
In 1989, students and teachers of Dhaka University’s Fine Arts Faculty initiated the first Mangal Shobhajatra on Pohela Boishakh. Over time, it became a major cultural festival in Bangladesh, and UNESCO recognized it as part of the world’s intangible cultural heritage. This procession, featuring folk motifs, animal masks, and rural Bangladeshi symbols, became an integral part of Bengali New Year celebrations. However, some people argue that this event contradicts their religious beliefs.
Today, we saw similar folk motifs and totems used in the Eid procession. The powerful cultural tradition of puppet theater was incorporated into the Eid festivities. Yet, those who brand Mangal Shobhajatra as anti-Islamic actively participated in the Eid procession. Does this mean folk motifs are only considered un-Islamic in specific festivals?
Why this cultural double standard? Culture is never static; it constantly evolves. But what causes this contradiction? Fundamentally, it reflects a political and ideological battle. Those who view Mangal Shobhajatra as a symbol of Bengali identity and oppose it do so to maintain their dominance. By integrating folk elements into the Eid festival, they seek to establish their cultural control.
We fully support today’s Eid celebration. In the future, we hope this festival becomes even more grand and inclusive, featuring theatrical performances with social messages and promoting pluralism beyond religious boundaries. However, if the Eid procession is used to undermine the Bengali New Year celebrations or discourage women’s active participation, we cannot endorse such an initiative.
It is important to recognize that reviving the Sultanate and Mughal traditions in Eid celebrations means acknowledging the broader history and heritage of the Indian subcontinent. If we embrace the ideals of the sultans and Mughals while simultaneously rejecting India purely out of opposition, it exposes the hypocrisy of extreme nationalism.
Culture is universal. It transcends religion, nationality, and ideology. Therefore, adopting one standard for one group and another for others hinders the natural evolution of culture. The use of folk motifs in the Eid procession clearly demonstrates that folk traditions are not inherently problematic for any religion. Instead, their acceptance or rejection is often dictated by political agendas. Thus, culture should not be weaponized for political gains; rather, it should be made equally accessible and enjoyable for all.
Author: Journalist
March 31, 2025
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