We have previously witnessed political motives in Pahela Baishakh celebrations, and we've heard one-sided narratives of culture. But has this year’s New Year procession become overtly political? Questions are being raised: has the festival of unity transformed into an ideological battleground, where "art" is now a sharp weapon to attack opponents, and "celebration" a vessel of propaganda?
The New Year procession organized by the Faculty of Fine Arts at the University of Dhaka—previously known as the Mangal Shobhajatra and recognized by UNESCO in 2016 as an intangible cultural heritage of humanity—was presented this year under a new name: Borṣoboron Anondo Shobhajatra (Joyful New Year Procession). The controversy began when the procession's name was changed under the influence of politically aligned faculty members rather than student initiative. Since then, symbolic motifs, facial structures, satirical images, and reflections of vengeance have emerged—each brimming with political undertones.
Particularly controversial was a motif symbolizing resistance against fascism. Many observers noted its facial structure bore a striking resemblance to former autocrat Sheikh Hasina. Instead of denying the resemblance, interim government cultural advisor Mostofa Sarwar Farooki attempted to legitimize it by invoking artistic freedom and referencing a "fascist reflection." He told BBC Bangla, “This procession isn’t political, it's against fascism.”
This statement is not just diplomatic rhetoric—it reeks of a theatrical farce disguised as cultural expression and laced with political partisanship. When the organizers themselves act as backstage directors yet shamelessly claim, “We are not doing politics,” how else can we define this but as peak hypocrisy?
Those who once criticized the Mangal Shobhajatra as a government propaganda tool are now using the same platform to insert political messages for their own gain. The propaganda that once offended their sensibilities now thrives in their hands—they’ve merely swapped masks, not tactics.
A quick look at the motifs in this year’s procession reveals how deliberate and explicit the political messaging is. From the "36 July" typography to symbols of the Mugdha murder and fascist facial designs—it forms a political collage, devoid of the pure folk joy and inclusive diversity once associated with the festival. What remains is a brutal blueprint to weaponize culture under the guise of satire.
Colorful New Year celebrations have now turned into canvases of revenge. The motifs of Fine Arts no longer radiate joy—they now drip with refined mockery aimed at humiliating opponents. This "art" has essentially become a "gallery of political animosity."
When controversy erupted over the Sheikh Hasina-like motif, it was burned in protest. A new motif was created, and the procession moved forward. Meanwhile, pro-Awami League supporters retaliated by circulating satirical images resembling opposition figures. This cycle of action and reaction clearly demonstrates that the New Year procession is no longer a festival of harmony but a stage for hate marketing.
Those who once took to the streets to protest political exploitation of festivals are now dressing up that same bitterness with artistic masks. The artists of Charukola are no longer mere creators; they have become political propagandists. The canvas is no longer filled with color—it is soaked in vengeance.
As political analyst Mahiuddin Ahmed told BBC Bangla, “Culture is never separate from politics. But that doesn’t absolve us from the responsibility of turning culture into a political weapon. If a universal festival like New Year’s becomes monopolized by one group, division becomes inevitable and the very spirit of the festival is destroyed.”
Professor A.K.M. Shahnawaz of Jahangirnagar University echoed a similar sentiment, saying, “What we see now is the result of historical detachment and ignorance about the roots of New Year celebrations. Those controlling cultural festivals lack personal ideology, making them susceptible to manipulation by ruling parties.” Yet, he held a glimmer of hope: “There will be crises, but through the ebbs and flows of time, the festival will reclaim its original grandeur.”
But will that hope ever materialize? Or will festivals and culture be fully engulfed by the banners of political propaganda?
As long as we ignore the path of accountability, forgiveness, reconciliation, and reflection—and instead foster hatred, vengeance, and retribution—our nation will inevitably be trapped in a binary of hate. Escaping from this may take generations and a bitter battle with some dark forces.
The timeless spirit of Pahela Baishakh—coexistence of differing views, unity, and universality—is now under threat. If this politicization continues, the future may hold not an "Anondo Shobhajatra" (Procession of Joy), but a "Procession of Controversy", led by ever-changing faces—each bearing a colorful mask of revenge and endless propaganda masquerading as art.
Writer: Journalist
1 Baishakh 1432 | 14 April 2025