Rather than looking elsewhere for a theatrical identity, Selim Al Deen turned to Bengal’s own cultural memory. Folk traditions, regional speech, history and oral storytelling became the raw materials of a dramatic language distinctly his own.

“Bridging Horizons: A Visual Dialogue of Nature, Heritage and Innovation”, a Singapore-Bangladesh painting exhibition, opened at Alliance Française de Dhaka in Dhanmondi on Friday (August 14), bringing together established and emerging artistic voices from both countries.

The programmes, beginning today and continuing through August 21, bring together several generations of theatre practitioners around the work and legacy of one of the most influential figures in modern Bangladeshi theatre. Deen was born on August 18, 1949, and died in 2008.

Directed by Mohsina Akter, Spardha: Independent Theatre Collective’s production of “Tobuo Jege Uthi” depicts the experience of womanhood and the struggle of women in the maw of patriarchy.

On August 13, Bengal Shilpalay inaugurated ‘The Quiet Within’, a solo exhibition by Bangladeshi cinematographer and artist Rashed Zaman, the contents of which are a mediation between painting and photography.

A 15-day photography exhibition documenting the participation of Bangladeshi activists in the Freedom Flotilla Coalition opened at DrikPath Bhobon in the capital's Panthapath on Friday.

“Tobuo Jege Uthi” examines women’s everyday realities within structures shaped by gender, identity, power and patriarchy.

Nearly a year into his tenure, Stalin says much of the disorder has been addressed through tolerance, discipline and greater engagement. But his account of a functioning and increasingly accessible institution raises a larger question: has Shilpakala’s internal culture actually changed, or has its structural dependence on political and bureaucratic authority simply acquired a different face?

Marking the 103rd birth anniversary of the legendary Bangladeshi painter, Charuputhi organised a special children's art exhibition titled “Tomar Chokhe Shilpi SM Sultan” (SM Sultan Through Your Eyes) at Safiuddin Shilpalay in Dhanmondi.

The play unfolds inside a closed-door auditorium that gradually transforms into a symbolic courtroom. As two lawyers argue their cases, fragments of history, echoes of memory and contemporary realities converge to reveal an extraordinary story rooted in the lives of ordinary people.

Written by Chandrabati, “Molua” is one of the best-known ballads of “Maimansingha Gitika”, the landmark collection of folk narratives from the greater Mymensingh region. The production explores love, dignity, social inequality and the resilience of women through the story of its titular protagonist.

As a cultural icon, his contribution to stage theatre has been immense. Even at the age of 86, he continues to perform on stage in the productions “Love Letters” and “Meraj Fakirer Ma”.

More than a century after Begum Rokeya Sakhawat Hossain imagined a feminist utopia in “Sultana’s Dream”, HerStory Foundation is returning to Ladyland with a question: what might that imagined society look like today?

The evening opened with a narration by Tania Mannan, followed by the performance of the Tagore classic, which explores themes of love, sacrifice, guilt and redemption.

The appointment was announced in a notification issued on Thursday by the Contract and Foreign Appointment Wing of the Ministry of Public Administration.

The programme took place on Monday (August 3) at the National Music and Dance Centre Auditorium. Family members of those killed and injured during the 2024 student-led mass uprising attended the event.

Exploring the intersections of women, domestic spaces, memory and identity, Sarah Jabin’s second solo exhibition, “Chowkath”, invites viewers to reflect on the cultural traditions passed down through generations of Bengali households. The exhibition opened at La Galerie, Alliance Française de Dhaka (AFD) on July 31.

Censorship, political labelling and organised backlash have shadowed the profession for decades. The latest example came when one of the country's most prominent political satirists, Mehedi Haque, found himself at the centre of coordinated criticism for doing what political cartoonists are expected to do: draw satire in response to the national conscience.

A century later, that extraordinary meeting forms the foundation of “Rabindranather Dwitiyo Bijoya”, which revisits the unique bond between the two literary figures and imagines the emotional and philosophical landscape of their relationship.

There is a particular irony in watching Syed Jamil Ahmed return to the stage after more than four decades as an actor. One of Bangladesh’s most influential theatre directors, who has spent much of his career shaping actors from the other side of the performance, is suddenly subject to the same conditions he has long asked performers to navigate.