Over the years, he has served as state minister for the ministries of education, youth and sports, and law, justice and parliamentary affairs. He also served as chairman of the Magura District Council with the status of a minister, and is currently a vice-chairman of BNP.
Recently, he spoke to Dhaka Tribune’s Tanvir Hasan on a range of contemporary issues.
Dhaka Tribune: Some organizations, including Hefazat-e-Islam, have started opposing the Baishakhi procession. What is your response?
Nitai Roy Chowdhury: I have said this before—this is the Baishakhi procession. It is a procession of joy, and the decision has been taken from a clear and considered standpoint.
There has been confusion over the names “Mangal Shobhajatra” and “Ananda Shobhajatra”. However, the reality is that the festival is deeply rooted in the history and heritage of Bangladesh.
The first “Ananda Shobhajatra” began at the Faculty of Fine Arts in 1989 and continued as a tradition. After the change of government in 1996, it was renamed “Mangal Shobhajatra”. During the last interim government, the name was changed again.
However, Pohela Boishakh itself is much older—it is rooted in a thousand-year-old agrarian society. At that time, urban civilisation had not yet developed, yet farming communities observed the festival.
At present, two groups are locked in a dispute over the name—both driven by fundamentalist positions. We do not want to engage in this division.
We have clearly decided that it will be called the “Baishakhi Shobhajatra”. This is the government’s position.
Some organizations, including Hefazat-e-Islam, have also said that instead of appointing music teachers in schools, the number of religious teachers should be increased. What is your opinion?
They are free to express their opinions—that is part of the democratic process. We are speaking from our position as a government elected by the people, and it is our responsibility to take decisions in line with public expectations.
I do not understand why there should be opposition to music. Music is an essential part of our culture—it shapes people’s intellect, values and creativity.
If someone suggests increasing the number of religious teachers, they are entitled to that view. However, we believe it is important to ensure a strong place for culture within the education system. The appointment of music teachers is being advanced in coordination with the Ministry of Education.
In the digital age, what are your ministry’s future plans to preserve Bengali culture and heritage?
This is a long-term process, and it is not possible to cover everything in a single interview. However, in brief, we aim to highlight the history, heritage and culture of Bangladesh with due importance.
Through the Department of Archaeology and the Faculty of Fine Arts, we will recover and preserve historical artefacts and traditions. Culture is the soul of a nation—it reflects people’s thoughts and values.
Our musical heritage includes diverse traditions such as Baul, Marfati, Murshidi and Kirtan, which we want to introduce to the younger generation. Jatra and theatre will continue, but they will be presented in more contemporary and socially relevant ways.
Our goal is to integrate cultural education at the school level.
There are allegations of mismanagement at archaeological sites—what steps will you take?
We are treating the matter with due importance. Effective measures will be taken to ensure the proper preservation and maintenance of archaeological sites.
Bangladesh maintains cultural relations with 44 countries as part of its cultural diplomacy. Through this, we will learn about other cultures while also showcasing our own to the world. We believe in unity in diversity and aim to promote cohesion rather than division.
Artists often complain that they do not receive adequate patronage. What is your plan in this regard?
We have a comprehensive plan in this regard. Just as we have introduced allowances for priests, imams, muftis and other religious figures, we are also planning support mechanisms for artists.
We want to establish culture as a respected profession. Those engaged in music, theatre, jatra and other cultural practices should be able to pursue them professionally and receive proper recognition.
Art academies across the country will be revitalised. Training will be provided in various genres, including Baul, Lalon, classical, Rabindra Sangeet, Nazrul Geeti and modern music.
Teachers will receive honorariums, and student participation will be ensured. At the upazila and district levels, students will be engaged through structured schedules so they can take part in cultural activities alongside their studies.
Folk music practices will be strengthened at the village level, and competitions will be organised. Over time, this initiative will develop into a broader cultural movement.
Our goal is to expand cultural practice nationwide, connect the younger generation with authentic history and heritage, and build a creative, humane and enriched society.
Cultural activities at many upazila and district art academies remain limited despite their presence. Why is this the case?
We want to make it clear that this situation will change.
How will this change be implemented?
We have already undertaken a well-planned initiative. Various departments of music will be introduced in art academies, including Baul, Lalon, classical, Rabindra Sangeet, Nazrul Geeti and modern music, each with dedicated training programmes.
Qualified and trained instructors will be appointed in each field. Many talented artists have long remained under-recognised—we intend to bring them into this framework.
They will train students from the most basic level, beginning with foundational musical notes. School and college students will participate, and both teachers and participating students will receive honorariums.
Instrumentalists, including those who play tabla, esraj and other instruments, will also be included and compensated. Regular competitions will be organised to foster interest and develop skills.
How will students be engaged in these activities?
We have coordinated with the Ministry of Education on this matter. At the upazila level, a structured schedule will be developed in coordination with all educational institutions. On designated days, students will attend art academies and take part in training.
Participation will be ensured across dance, theatre and music. In addition, those skilled in folk and rural traditions will work at the grassroots level, travelling from village to village to promote cultural engagement.
The entire programme will be conducted in a way that does not disrupt students’ academic studies.
As culture is a vast field, we will proceed gradually. Initially, students will be introduced to accurate history and heritage through this initiative.
In the next phase, district-level academies will offer expanded opportunities, and trained artiss from these centres will work across different regions of the country.
Our ultimate goal is to create a nationwide cultural awakening and make the country vibrant through music, theatre and broader cultural expression.
