As the sun of Chaitra, the last month of the Bangla calendar, set in the year 1431, the heart of Dhaka University’s Faculty of Fine Arts stood at the crossroads of celebration and silent protest.

The stage was set literally for a vibrant cultural show titled Chaitra Sangkranti 1431. But something felt incomplete. Though the decorations spoke of festivity, the air carried a hint of resistance.

“We love this festival, but we can’t be part of something that feels politically imposed,” said a student of the Fine Arts faculty. The student`s voice echoed the shared sentiment among peers who chose not to actively participate in the official events this year. Their objection stemmed from what they called “state interference in creative autonomy.”

Still, the campus was not quiet. Art adorned the galleries, traditional Bangla themes came alive on canvases, pottery, and scrolls. Private firms were hired to design patachitra, and well-known sculptors and painters joined hands to craft the motifs for the much-anticipated Ananda Shobhajatra, a colourful procession that will parade through the streets of Dhaka on Pohela Boishakh, the Bangla New Year.

Just a few steps away, Bangladesh Shilpakala Academy took Chaitra Sangkranti on a different tone, one of grandeur and state sponsorship. This is the first time the year-ending celebration has been officially organised by the government. The Ministry of Cultural Affairs, alongside Shilpakala Academy, held an extravagant band show and cultural event at Suhrawardy Udyan. The grounds vibrated with the rhythm of dhak-dhol and lathi khela, traditional martial arts displays that thrilled the crowds.

Each performance seemed to offer a window into the diverse soul of the country. From the hills of Chimbuk came the beats of the Marma community, followed by the stirring voices of the Tripura group, Imang, and the melodic invocations by the Chakma artists. Audiences also swayed to the harmony of Unity from the Khasi community and the powerful tunes of F Minor and The Rabuga from the Garo community. As night fell, the main stage caught fire with rock legends like Avoid Rafa, Vikings, Dalchhut, Lalon, Feedback, Warfaze, and Artcell. The crowd, young and old alike, sang along under the open sky, the air buzzing with joy.

“This is more than a show,” said Shilpakala’s programme coordinator Sheikh Muhammad Ehsanur Rahman. “It’s a celebration of every Bangalee regardless of region, religion or rhythm.”

Meanwhile, Bangla Academy announced its own touch to the festive build-up: a week-long Boishakhi Mela starting on Pohela Boishakh. The fair promises stalls full of folk crafts, books, rural food, and live performances each evening. Families are expected to flock in for this open-air celebration of culture, knowledge, and connection.

Back at Dhaka University, preparations for Ananda Shobhajatra continued with a mix of excitement and reflection. Though some students stood back from the main event, their artistic contribution remained visible. Paper-mâché tigers, sun motifs, and elephants, symbols of prosperity and strength, were being painted and assembled by appointed artists, creating the signature look of the Boishakh parade.

“It’s a mixed feeling,” admitted Tareq, a third-year sculpture student. “We are proud of our heritage, but we also want our voices heard. Cultural celebration must come with creative freedom.”

The contrast between independent spirit and official celebration coloured this year’s farewell to 1431. But what united everyone was the anticipation for Pohela Boishakh, an emotional, joyous beginning to 1432. From Suhrawardy Udyan to the streets of Shahbagh, from the cultural stages to family kitchens, the scent of panta-ilish and the sound of folk songs are drawing everyone into the shared heartbeat of Bangalee identity.

As Chaitra’s last sun dipped behind the banyan trees and the moon ushered in a new year, Dhaka reminded itself once again: this land’s festivals are not just days in the calendar. They are woven from art, song, sweat, rebellion, and joy. And no matter who organises them, the spirit of the people will always be the loudest performer on the stage.

“Shubho Noboborsho!”