Roadside walls and pillars in the entirety of Barisal city reflect the glory and bear slogans of the student movement in July this year. The walls have become canvasses for young artists who have demonstrated their enthusiasm and potential through the mass upsurge that overthrew Sheikh Hasina’s regime.
Dr Manisha Chakraborty, a central committee member of Bangladesh Samajtantrik Dal (BaSaD), terms graffiti the new language of the current generation.
“Graffiti is the art of the new generation,” she said.
She added that these artworks speak of the collective desire for a non-communal and peaceful society.
Hasibur Rahman, an activist of the student movement, said that these artworks not only helped in the city’s beautification but also served as a powerful form of social commentary. They were also a challenge to societal norms, he added.
He noted that in 1952, artists used to make wall paintings to speak out against Pakistani misrule and oppression. This movement was led by renowned artists like Rafiqun Nabi Ranabi.
Kamrunnahar Mohona, a student of Barisal University, said if this art trend continues, it will have a greater impact on the culture.
She added that texts do not speak all the languages, but the language of art can be communicated to anyone.
Educationist Prof Dipankar Chakraborty said artistic expression was the main drive behind this graffiti.
Many people compared the artists of this graffiti with Banksy, a famous (but anonymous) UK-based graffiti artist.
Bangladesh has a rich graffiti history intimately associated with the nation's political upheavals and cultural shifts. “Chika Mara”, or writing or sketching on walls, is one of the country’s oldest public art types.
Communist Party of Bangladesh (CPB) leader Abul Kalam Azad said left-leaning parties used to resort to “Chika Mara” during the Pakistan period.
Syed Dulal, another cultural activist, said “Chika Mara” or graffiti serves as a reminder that street art continues to be a dynamic force in shaping the socio-political discourse of a country.