Revisiting Jasimuddin Through Movement
By MWB Desk
It does not begin on stage.
It begins at the entrance, where women sit quietly, stitching threads into layered cloth. The movement is slow, deliberate, almost resistant to time. Visitors pause, not out of instruction, but because the act itself asks them to. By the time one steps inside, something has already shifted. The performance has started, just not where it is expected.
This is Bengal in Motion, an initiative by MW Bangladesh in collaboration with natural wellness brand MAYA under Square Toiletries Limited that treats culture not as display, but as experience.
Returning to Jasimuddin, Without Repeating Him
The third edition of Bengal in Motion, taking place at the Aloki Convention Centre in Gulshan on April 17, 2026, centres on Nakshi Kanthar Math, one of the most enduring works of poet Jasimuddin.
The timing is deliberate. The event coincides with the poet’s 123rd birth anniversary, anchoring the evening in both commemoration and reinterpretation.
Opening the programme, Rumana Chowdhury, Editor and Publisher of MW Magazine Bangladesh, positioned the event as something more layered than a cultural showcase. “This is not just a performance,” she said. “It is a way of returning to the memories of our soil and our roots, and remembering Jasimuddin through a shared language of art.”
“This evening is not just a cultural programme. It is an opportunity to return to the memories of our soil and our roots, and to remember Jasimuddin through a shared language of respect, love, and art. Through this special edition, we tried to revisit the rural poet’s life, his milestones, and his role in shaping Bengali cultural identity.”
– Rumana Chowdhury, Editor and Publisher, MW Magazine Bangladesh
Anjan Chowdhury, Managing Director of Square Toiletries Ltd., presided over the event. For Square Toiletries Limited, the collaboration with Bengal in Motion reflects a broader commitment to cultural continuity.
“We are truly delighted to present a program that celebrates our dancers while promoting the cultural spirit of Bangladesh on a global standard, with the goal of continuing to preserve and showcase our heritage through art and performance. There is simply no comparison to Jasimuddin, and through this program, we wanted audiences to experience his legacy in a new and meaningful way.”
– Anjan Chowdhury, Managing Director Square Toiletries Ltd.
Malik Mohammed Sayeed, CEO of Square Toiletries Limited, emphasised the importance of sustained engagement. “Whenever we associate ourselves with something, we believe in continuity,” he said. “Our villages, our soil, and our folk traditions carry immense strength. Through Jasimuddin’s work, these stories reach us with clarity, and it is important that we continue to preserve that connection.”
He also pointed to an often overlooked aspect of the poet’s work. “Many see him as a poet, but he was also a collector. He travelled from village to village, listening to people, gathering their stories of love, loss, and everyday life. Those stories became his poetry.”
This idea of collection, of gathering lived experiences and shaping them into a narrative, mirrors the structure of Bengal in Motion itself.
“Jasimuddin was not only a poet, he was also a collector of stories. He travelled, listened, and gathered the lived experiences of people, which later became his poetry.”
– Malik Mohammed Sayeed, CEO of Square Toiletries Limited
A Story That Lives in Fragments
Published in 1929, Nakshi Kanthar Math tells the story of Rupai and Saju, a relationship shaped by love, separation, and waiting. The narrative unfolds through everyday images, familiar landscapes, and emotional restraint.
The embroidered quilt within the story becomes its central metaphor. It holds memory, grief, and time. It records what cannot be spoken directly. This idea becomes the foundation of Bengal in Motion.
On stage, this fragmentation is carefully constructed. The set does not recreate a village in literal detail, yet elements of rural Bengal are unmistakably present. A thatched hut stands to one side, suggesting domestic life without enclosing it. The backdrop carries visual references to the text, anchoring the performance without overwhelming it.
Set and lighting design by Nasirul Haque Khokon play a crucial role in shaping this environment. His work allows the stage to shift between spaces without physical transitions. Light becomes the primary tool for movement, isolating moments, widening landscapes, and compressing emotional distance. At times, the stage feels expansive, almost like an open field. At others, it closes in, reflecting the intimacy and tension between the characters.
This controlled use of space ensures that the audience is not simply watching a story unfold. They are moving through its emotional terrain, guided as much by light and absence as by performance.
Designed by Nasirul Haque Khokon, the set does not recreate a village in literal detail, yet elements of rural Bengal are unmistakably present. A thatched hut stands to one side, suggesting domestic life without enclosing it. The backdrop carries visual references to the text, anchoring the performance without overwhelming it.
From Text to Movement
Translating a literary work into performance requires careful negotiation between preservation and interpretation. In Bengal in Motion, the dance drama is carried by the performances of Shibli Mohammad, Shamim Ara Nipa and the dance ensemble Nrityanchal, drawing from an established choreographic tradition associated with Nakshi Kanthar Math.
Anisul Islam Hero, who has been closely involved with the production, emphasised the importance of retaining that lineage rather than altering it for contemporary effect. “This is an extraordinary choreography first done by G A Mannan,” he noted. “We have not tried to rework it. The original composition, with music by Ustad Khadem Hossain Khan, already holds a depth that continues to resonate.”
His reflection also situates the work historically. He pointed out that Jasimuddin’s contribution to performance traditions is often overlooked. “We tend to remember him only as a poet,” he said. “But Nakshi Kanthar Math itself is structured like a dance drama. For its time, coming from a rural context, that was remarkable.”
A Space That Extends Beyond the Stage
The performance does not operate in isolation. The environment surrounding it plays an equally important role.
Kanthas from different regions are displayed across the venue. Lines from Jasimuddin’s work appear on the walls. At the entrance, artisans continue stitching, extending the narrative beyond the performance itself.
A kantha, after all, is not simply an object. It is a record. It carries memory, time, and lived experience through thread. By placing the act of stitching at the beginning of the evening, the event establishes its central idea early. Stories are not only told. They are made.
Alongside the performance, MW Bangladesh also released a special edition magazine dedicated to Jasimuddin’s life and work. “Through this edition, we tried to revisit the poet’s journey and his contribution to Bengali cultural identity,” Chowdhury explained, acknowledging the support of the poet’s family in shaping the publication.
Between Event and Practice
Bengal in Motion has evolved over its three editions. What began as a platform for dance has gradually shifted into something more integrated. Earlier editions focused on showcasing performances. The current format builds a narrative environment. It combines performance, installation, and publication into a single framework.
This shift reflects a broader change in how cultural initiatives are being approached in Bangladesh. There is a growing emphasis on interdisciplinary work, where boundaries between art forms are less rigid.
Beyond the stage, the scale of Bengal in Motion was supported by a coordinated network of partners working across different aspects of the event. Maasranga Television served as the broadcast partner, extending the reach of the programme beyond the venue. Mediacom Limited took on the role of PR partner, shaping communication and outreach around the event.
Operationally, Sun Communications Limited handled the overall event management, ensuring that the production moved seamlessly from concept to execution. Aegis Security Forces was responsible for maintaining security throughout the evening.
The evening also drew a distinguished audience, reflecting the cultural weight of the initiative. Among the notable attendees were Afzal Hossain, Aupee Karim, writer Anisul Hoque, Mahfuz Anam, renowned artist Monirul Islam, and Jewel Aich. The presence of ambassadors and other dignitaries further broadened the scope of the gathering, positioning the event within a wider cultural and diplomatic context.
