গঙ্গাবুড়ি / Gangaburi: A River Heritage Project 2024-25

Artist Bilas Mandal visited Buriganga for the first time, and he could not connect to his idea of rivers from his hometown. In his ideas, river ecology, sand bars, and rippling fresh water thrusting the natural banks of the river were met with dark waters of Buriganga, chaos and pollution, dense settlement of migrants, and all things extreme to the nature of his idea of rivers. Thus, the artist tries to draw, compare, and contrast the past and present landscapes of the Buriganga River as the main spine of the life around it. He uses elements like boat staples, a hand-made rowed boat, a propeller, with features of settlements around it to develop his narrative.

Details of work:  Sculptural installation _ wood, boat staples (পাতাম) metal, bronze, coal tar (আলকাতরা) _ 180 x 60 x 120 cm _ 2024

Artists Mojahid Musa and Dinar Sultana Putul, jointly awarded the Gangaburi Phase Two grant, drew inspiration from the concept of Noah’s Ark and the Buriganga River. Unlike village rivers, Buriganga revealed a cycle of creation and decay through its recycled materials—mirroring memory, resilience, and urban life. Observing the absence of women, the artists incorporated recycled sarees alongside cow tails, polythene, and plastic chips to represent female presence and continuity.

Transforming sarees into silhouettes of humans, animals, and birds, the work bridges Aristotle’s idea of unique essences with Darwin’s theory of evolution—honoring both individuality and adaptation. Incorporating motifs of sails, the mythical Buraq, peacocks, and rickshaw art, the installation symbolizes freedom, progress, and the coexistence of diverse lives along the Buriganga.

Collaborators: Farzana Bagum, Khaurshid Jahan Dolon, Md. Hanif Pappu, Monir Hossain, Nur-a-Alaa, Syed Ahmed Hossain

Details of work: Site-specific installation art _ recycled saree, cotton treads, ritual threads, hair of cow, recycled (polythene, lather, cotton cloth, plastic chips) tabiz, coal tar (আলকাতরা), coal powder, clay, brick dust, snails, fluorescent colors, plastic colors, bamboo sticks, fishing nets, paper mashed _ size variable _ 2024

The river is a calm sanctuary in the heart of the bustling city, flowing with a timeless grace that holds both beauty and mystery. Walking along its edge, artist observed its movements, feeling its ancient pull and searching for the stories it has gathered. The river mirrors the city, the sky, and everyone who passes by, carrying fragments of a thousand lives and memories. People come to its banks, performing rituals, washing, bathing, connecting with the water as if it were an old friend. The river soothes and captivates, offering fleeting glimpses into its depths, yet its secrets remain just out of reach. Amid the city’s noise, it flows on, steady and hypnotic—a quiet, unchanging presence that binds us all to something greater.

Collaborators: Rimjhim, Achol, Abid Hasan Aomi and community of Showarighat

Details of work: Photography _ Analog medium format photography/screen printed on fabric _ 50 x 50 cm _ 2024

Aonuronon (অনুরণন), meaning “resonance,” reflects the dialogue between Bengal’s rivers and the communities living along their banks. The rivers are revered as sacred, life-sustaining forces that shape traditions, rituals, and songs woven into everyday life. Artist Moni Majhi worked with boatmen from Thotaghat (Buriganga) and Shola artisans from Gandamari village (Khulna) to create a site-specific installation using soil, boat wood, rice flour, straw, sanai, papaya-branch flutes, tree branches, and sewing thread—materials resonating with the delta’s spirit. Inspired by Razib Hasan Chowdhury’s “philosophy of water” (Gangaburi Phase-2 workshop), the work celebrates the enduring harmony between people, nature, and the river.

Collaborators:
Artisans: Md. Hanif Pappu, Monir Hossain
Shenai Player: Joy Das
Flute Maker: Shahadat Hossain
Shola Artist: Chinmoy Mandal & family (Gandamari, Khulna)
Boatmen Community: Salim Bhai (Headman of Thotaghat)
Architect: Razib Hasan Chowdhury

Details of Work:
Installation art: 330 × 180 × 165 cm_2024
Materials: soil, boat wood, rice flour, straw, sanai, papaya flutes, tree branches, sewing thread

Rivers, which should flow freely with life, are shown as both a source of nourishment and a dumping ground for waste. Through this act, the artist calls attention to our collective responsibility to address the growing problem of plastic pollution. The performance reminds us that we are not helpless bystanders; we are part of the solution.
He stands with the community, sharing stories like each word is a thread connecting past and present. In his act, he takes ownership of the wrongs we’ve done to the river, acknowledging the pain we’ve caused. Through his presence, his voice, he speaks the silent truth of our relationship with the Buriganga—its wounds, its neglect, its cry for help. His performance is a call to remember, to heal, and to reclaim our responsibility for the waters that once gave us life

যাত্রা/Jatra symbolizes the artist’s journey and the vibrant theater of life surrounding the Buriganga River. This river’s ever-changing flow and resilience reflect Bangladesh’s deep, ancestral bond with its waterways, a connection that remains etched in collective memory despite the rivers' current states. The artist’s work is a tribute to the Buriganga, an expression of gratitude for its enduring presence and contributions. Engaging with the community along the river added new perspectives to the artist’s journey, deepening their connection to the river’s essence. Through this project, the artist hopes to inspire continued reverence for the river’s flow and a celebration of the dynamic theater of life it nurtures.

Collaborators:
Music: Samin Yasar
Community members: Dipa, Nazma, Nurjahan Begum, Dulal Dhali, Mohammad Hanif Molla, Mohammad Ali Hossain, Nobolaal Das, Pappu, Mohammad Kohinur

Details of work: Site-specific installation _ sound & clay, fishing net, mirror sheet, bamboo sticks, sand _ 370 × 134 × 254 cm _ 2024

The settlement near the Buriganga has always thrived with trade and commerce, keeping the river bustling with activity. Life around this urban waterway is constantly in motion, with people rushing to chase the next big hustle of the day, oblivious to the changing patterns of the river itself. We seldom take a moment to pause and reflect on the Buriganga — to see it for what it truly is, or what it has been. At times, we may turn to its dark waters for religious or spiritual reasons, yet we rarely make any effort to address the river's declining state. Now, the artist has paused in a moment of penance, compelled to write a letter of truth to the river, acknowledging its reality amidst the relentless pace of urban life.

Amidst the relentless hustle and bustle around the Buriganga River, where the grim surroundings seem to suffocate any trace of calm, the artist moves like a solitary flag bearer on a quest for serenity. The chaotic scene unfolds before her when people are rushing, markets loud, life continues but no one seems to notice the serenity the river seeks. In this sea of motion, she searches for moments of peace, her heart yearning for the serenity that eludes her, as if carrying the weight of her own melancholy against the tide of noise and confusion.

Born on March 15, 1962, in the bustling streets of Nawabpur, Md. Hanif Pappu’s hands have painted the soul of Dhaka’s cinema for over five decades. Guided by his uncle’s craft since 1968, Pappu’s passion ignited early, with his first banner in 1971 marking the beginning of a lifelong journey shaped by vivid color and creativity. Much like the rickshaw’s vibrant storytelling, his cinema banners once filled Dhaka’s movie halls with tales of heroism, love, and drama, now standing as a nostalgic tribute to a time when hand-painted art dominated the screen.

Through his years at Rupayon Art Gallery, Pappu cultured a distinct style, blending rich tones of red oxide, zinc oxide, and sindoor with fluorescent hues to create unforgettable cinema scenes. His banners adorned countless films, from Ora Egaro Jon to Beder Meye Josna, each painting a testament to his devotion to the craft. Yet, as digital banners replaced the brush, Pappu faced a shift in demand, but his legacy remains as vibrant as ever. The golden years of tirelessly creating up to ten banners a day, under pressure from both audience and producer remains a cherished memory.

Pappu’s work transcends borders, blending cultural influences and language into every stroke. Raised in a strict Haji family, his heart found solace in his uncle’s workshop, where vibrant colours brought the world of cinema to life. As a proud contributor to Dhaka's cinematic history, Hanif Pappu’s banners remain a cherished part of the city’s heritage as a vivid reflection of the dreams, struggles, and triumphs of a bygone era.

Syed Ahmed Hossain, born in 1954 in Hussaini Dalan is a master of rickshaw art, painting the very pulse of Dhaka with every stroke, as if his brush follows the flow of the Buriganga River through the streets. Just as the river nourishes the city, Sharif’s vibrant creations bring life to the rickshaws that traverse it, weaving a narrative of daily life, dreams, and color. The earliest  record of commercial rickshaw in Dhaka dates back to 19381 (Rashid, 1986), and since then, the city claimed its title as the rickshaw capital of the world, Sharif’s work stands as a vibrant testament to this rich legacy. His paintings are adorned with iconic motifs: Buraq, Peacocks, Parrots, Swans, Lotus, Animals and so on. Each image is a reflection of the vibrant techniques and visuals that the rickshaw painters have been using throughout the years.

His journey as a rickshaw painter began in humble surroundings, but his passion for art soon flourished. A self-taught artist, Hossain mastered the use of enamel and fluorescent colours, creating intricate and vivid scenes that have become synonymous with the rickshaw tradition. His work captures not just the city’s landscape but the very soul of Dhaka.

In 1992, Hossain's brilliance reached beyond Bangladesh with an invitation to Japan to showcase his paintings. His works have been exhibited in Italy, France, Nepal, United Kingdom, and the United States, with a prominent showing at the Alliance Française exhibition in 1999. As a proud contributor to Dhaka's UNESCO-recognized cultural heritage, Hossain’s art continues to embody the city’s vibrant, ever-evolving spirit.

Editorial: Nusrat Mahmud, Sabiha Ambareen Haque
Editorial Conception / Layout / Manuscript: Bishwajit Goswami

Research

Principal Investigator (PI): Bishwajit Goswami
Research Director: Nusrat Mahmud
Research Associate: Dr. Abu Kalam Shamsuddin
Research Scholars: Sabiha Ambareen Haque, Souradeep Dasgupta
Research Assistants: Anas Bin Iqbal, Farhana Rafiq Achol, Tirtha Saha

Project Leadership

Project Curator: Shehzad Chowdhury
Project Director: Bishwajit Goswami
Project Manager: Nusrat Mahmud
Project Coordinator: Md. Tanjid Hosen Parvez

Design: Anas Bin Iqbal, Ashik Ahmed Galib, Tirtha Saha
Images: Arup Mandal, Bishwajit Goswami, Kamran Hossain Nayem, Niloy Mankin, Nirob Tahsan, Tirtha Saha
Proofreader: Sadia Zahid
Foreword: Farida Zaman, Kazi Khaleed Ashraf, Luva Nahid Choudhury

River Heritage is the third chapter of a long-running heritage initiative that has been implemented by the EUNIC Bangladesh Cluster in partnership with the EU Delegation since 2019. Earlier phases of the project included an Open Heritage Week, which showcased the cultural heritage of Puran Dhaka, and the Hidden Heritage website, which highlighted lesser-known architecture with historical or social significance to the city. The new project, which was carried out in collaboration with the Brihatta Art Foundation and is now documented in this book, has highlighted the diverse tangible and intangible heritage of Puran Dhaka over the past two years.

As Dhaka continues to develop rapidly and mutate economically, its oldest and most populous neighbourhood is in danger of losing its traditions and culture. There is a complicated relationship between Puran Dhaka and the Buriganga River, on whose banks it has developed, and which remains the main source of livelihood for most families in the area. River Heritage explored this web of relationships through curated exhibitions to build bridges of understanding between Puran Dhaka and other, newer districts of the city. The project engaged local communities in Puran Dhaka and gave them a voice to collect their stories and highlight existing and ancestral traditions that are at risk of being forgotten. The project provided a platform for reflection and surprise. It gave a sense of pride to the people living in Puran Dhaka.

I am convinced that culture can initiate change.

River Heritage, through this beautifully designed and content-rich book, will stimulate a dialogue between public stakeholders such as the city council and the residents of the neighbourhood that will hopefully contribute to a rethinking of heritage conservation.

Frank Werner
President
EUNIC Cluster Bangladesh
Director, Goethe-Institut Bangladesh

Art-based research: A Comprehensive and Nuanced View of Reality

 I don't paint art pieces; all these are research.

               - Pablo Picasso (1881 – 1973)

The art of scientific investigation is known as research. Consequently, Art-based research is significant because it enables the exploration of intricate concepts and experiences in ways that conventional research methods might not be able to. It offers distinctive perspectives on the human condition by utilizing the ability of art to evoke feelings, embodied experiences, and implicit knowledge. This method fosters a more comprehensive and nuanced view of reality, encouraging discussion and various interpretations of research findings. Art allows for depicting complex and multifaceted realities that are difficult to portray through traditional research methods by exploring distinction and complex issues. It contests the dominance of one point of view by providing a parlance platform for analyzing multiple meanings and interpretations.

By examining Nuanced and Complex Issues, Art makes it possible to depict intricate and multidimensional realities that are challenging to convey using conventional study techniques. It challenges the dominance of one viewpoint by offering a forum for examining various meanings and interpretations. In fact, by including participants in the research process and enabling them to co-create meaning, art-based research can foster collaborative processes by encouraging Discussion and cooperation. This participatory approach may increase participants' sense of ownership and engagement.

By offering a unique perspective on knowledge generation, art-based research challenges the conventional distinction between art and science rather than challenging standard research paradigms. Using the benefits of art and science promotes a more thorough and interdisciplinary approach to research. Art has the potential to be a powerful tool for raising awareness of social issues and promoting social change since it provides a forum for advocacy and social change. By representing social reality through artistic manifestations, art-based research has the potential to challenge dominant discourses and empower marginalized voices.

Art-based research (ABR) is the foundation of the methodology used in this specific Gangaburi project (Phase 1 and 2). It features the original works of multidisciplinary artists based on an open-call investigation into multimedia, visual artists, performing artists, consumer dialogue, individual creations, case studies, practitioner and local interviews, and qualitative consumer surveys. ABR is defined as the systematic use of this creative process—the original production of artistic expressions in the aforementioned forms of the arts—as a primary tool for understanding and analyzing experiences for researchers and study participants. This study included analyses of phenomena where the arts are mainly regarded as data to achieve specific goals.

Dr Abu Kalam Shamsuddin

Associate Professor

Drawing and Painting Discipline

Khulna University, Khulna-9208
Bangladesh

Gangaburi book has been a transformative journey of discovery and reflection, rooted in art-based research. Our research draws data from artworks produced in the Gangaburi-River Heritage Project with intangible sources like mythologies, songs, stories, and cultural memory that shaped their narratives.

British historian Simon Schama once said, “Landscapes are culture before they are nature.” That idea stayed with me. It became a prompt, a provocation—what better way to begin decolonizing landscape architecture than through the language of art? Art teaches us to listen, to feel, and to reclaim the silenced or forgotten stories embedded in our terrain.As an author and researcher, I explored how our heritage shapes the narratives of our land and identity.

I hope that Gangaburi opens up new conversations. We invite readers to consider the cultural relationships we hold with nature and how those relationships might guide us in honoring and carrying forward our heritage.

Also, this book is not a catalogue—it does not aim to showcase every artwork produced. Instead, it captures the essence, the narrative, and the learning curve of the Gangaburi River Heritage Project. In over 150 pages we hope to offer a new aperture—an entry point into the evolving genre of art-based research.

Sabiha Ambareen Haque
Landscape Architect

As an aftermath of Gangaburi’s exploration, পাল ‘Paal’ emerges as a testament to the roots that have been nurtured and the paths that have unfolded. It becomes a metaphor for our collective journey, a passage through time where land, water, and air converge in an eternal dialogue. It carries the essence of coexistence, a silent witness to the rhythm of nature, the pulse of the river, and the aspirations of those who depend on its course.

The sail has long been more than just a tool of navigation – it is a symbol of movement, of journeys taken, of destinies intertwined. It is not merely a tensile structure of fabrics stitched together, but a weaving of thoughts, histories, and inheritances. Land, water, and air – three fundamental elements of existence – come together through collaboration on creating the sails, reflecting the delicate balance between survival and spirituality, between nature and human intervention. The land nurtures and provides, the river connects and carries, and the air sustains and moves. This interplay mirrors the relationship between people and their environment, where traditions, livelihoods, and beliefs have long been shaped by the river’s embrace.

A collective work led by Bishwajit Goswami, the first sail conceptualises ভূমি Bhumi (Land), The journey creating this sail started with a collaborative approach of multiple creative minds who worked in different parts of Gangaburi –  with patches of fabrics to create their own artworks with natural materials. The patches, much like individual journeys, find meaning in their connection to one another. Every stitch is a bridge, every motif a story, and together they become a collective expression of a shared experience. Sewn together, while forming a visual and tactile representation of আইল Ail – ridges and furrows of lands, where verses from খনা Khona¹, an ancient source of agricultural wisdom has been inscribed – a reminiscence to our roots.

A parallel narrative on জল Jol (Water) unfurled on the second sail, where verses from folk poetry and music, and verses of the boatmen inscribed by urban traditional artists who reside near the Buriganga became a part of the composition. Much like the ‘Gamchha’ – a simple, everyday textile imbued with profound cultural connections where the act of weaving becomes an act of remembrance – of rivers, of culture, of shared existence.

Adding to this dialogue, a third sail capturing the essence of পবন Paban (Air) blends the themes through bold, expressive strokes. The installation of the sail structure, majorly reflected through the painting of Bishwajit Goswami transforms the physical form of the sail to become a vibrant testament to nature’s expressions. Through the structures and the veil in front, Goswami captures the fluidity of the river, the motion of the air – weaving these elements into a visual narrative that speaks to the timeless relationship of life and eternity in a surreal approach. The strokes and the elements transform the sail into an artifact that not only represents a journey across space but also across time, anchoring the collective memory of the river and its people.

Through these symbolic sails, Gangaburi charts a course towards a deeper understanding of our intertwined destinies. The sail, in its final form, is both an artifact and a philosophy – a reminder of how we move forward, how we are carried by forces greater than ourselves, and how, in the end, we are all part of the same current, flowing towards a shared horizon.

Bishwajit Goswami
Project Director

¹ Khona is believed to have been a poet, astrologer, and prognosticator from Bengal, living during the ancient period, roughly between the 8th and 12th centuries AD. Her verses, known as Khona's Bochon (Khona's Words), cover a wide array of topics, including philosophy, agriculture, livelihood, and astronomy. Widely recognised across the Indian subcontinent, her teachings continue to be a valuable source of knowledge, especially among the region's agriculture-driven communities.

Research-based approach anchored the Paal project; from Khona’s ancient verses to traditional verses to community interviews - all helped uncovering the deep-rooted connections to the river. These insights guided the conceptual and visual journey, turning the sails into layered expressions of tradition, memory, and motion.

Souradeep Dasgupta
Researcher

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Research Support: Souradeep Dasgupta, Tirtha Saha

Urban Traditional Artists: Ali Reza Razu, Mahbub Alam, Mohammad Masum, Sony Sen

Collective Participation: Anannya Mehpar Azad, Arup Mandal, Bilas Mandal, Dinar Sultana Putul, Dr. Abu Kalam Shamsuddin, Farhana Rafiq Achol, Julia Lebrao Sendra, Kazi Sydul Karim Tuso, Labonno Mou, Md. Khairul Alam Shada, Mokter Hossain, Moinuddin Moni, Mojahid Musa, Mubtaseem Alvee, Nur a Alaa Siddique, Sabiha Ambareen Haque, Sananda Saha Bhabna, Shamim Ahmed Chowdhury, Shehzad Shahriar Chowdhury, Souradeep Dasgupta.