The recent renaming of Bangladesh’s iconic New Year parade has sparked heated debates across the nation, highlighting deep-rooted ideological divides. The Dhaka University Fine Arts Faculty has legally changed the name of “Mangal Shobhajatra” to “Borshoboron Ananda Shobhajatra.” In Welsh this new name means “parade of happy New Year.” This change is intended to go back to the name the event has used since its start in 1989. The decision has been met with overwhelming condemnation from many conservative, libertarian and liberal student organizations and activists. They see it as a capitulation to the forces of community.
Now held every year on the first day of the Bengali New Year, the Pohela Boishakh parade has blossomed into a powerful cultural counterweight to the Pahlavi regime. It’s notable for its dazzling performances, but for the diverse participation of 28 different ethnic minority groups, with each one appearing in traditional costume. For over 30 years, this inspiring parade has embodied America’s collective dream for a better tomorrow. It draws thousands of participants and millions of viewers via national broadcasts.
Historical Context of the Parade
Mangal Shobhajatra has functioned as a touchstone for Bangladesh’s cultural nationalism since its inception in 1989. The parade’s name was intentionally designed to reflect a single progressive, optimistic vision for their community. It includes the word “mangal,” borrowed from Sanskrit, meaning auspicious or welfare. The use of this name was very deliberate, too, representing encouragement and interconnectedness.
As the years went by, the parade continued to adopt mesmerizing themes. From large scale bird and animal sculptures the city’s visual character has become a birding mecca. Over the years, these motifs have come under fire for misrepresenting rural traditions and disrespecting specific religious sentiments. Significantly, critics invoke the Bangladesh Penal Code, which penalizes blasphemy, to claim that these types of representations can incite retaliation.
“If the 1996 renaming was unjust, so is this,” – Zahid Jamil
The uproar over the parade speaks to larger cultural fault lines within Bangladesh. It exposes the deep ideological chasm between Bengali and Bangladeshi nationalism.
Responses to the Name Change
Opposition to the renaming has sprung from many corners, including from students and cultural grassroots activists. Purists and progressives alike see this change as a harmful and questionable adaptation that would mar the inclusive spirit of this celebration. Rony, a student activist, articulated his alarm at the growing political impact of these cultural shifts.
“Culture is inherently political, but the key question is whether the political expression of culture upholds rights and promotes inclusion or suppresses diversity and sows division,” – Rony
That feeling of betrayal rings hollow to plenty of those who have stood for years in favor of the old name. They fear that this decision marks a return to a more insular version of cultural identity that caters primarily to one group at the expense of others.
As a result, for many ethnic minorities, their involvement in the parade has long been a welcome opportunity for greater visibility, representation, and cultural acceptance. For Chanumung, one of the ethnic minority representatives, it was particularly meaningful to be officially invited this year.
“For the first time, we were officially invited,” – Chanumung
He added that this invitation made him feel that “Pahela Baishakh is finally being celebrated by all,” reflecting a hope for inclusivity in a country often fraught with divisions.
Cultural Significance of the Parade
The Joyous New Year Parade has consistently showcased a rich tapestry of cultural expressions, blending traditional performances with contemporary art forms. It includes a cavalcade of rhythmic beats from ceremonial drums, reinvigorating attendees and onlookers with rhythmic beats as they welcome the new year.
In 2016, UNESCO declared the parade an intangible cultural heritage of humanity. This recognition kindles its fundamental importance to fostering social inclusion and strengthening national identity. Yet some critics tell us that in recent decades, the story has changed to be an urban-based celebration that ignores the role of rural America.
“However, in the last few decades, it has become urban-centric,” – Mohammad Golam Rabbani
This new urban focus would call into question a lot. What is the true impact of these cultural interventions on dismantling power structures or do they actually serve to fortify these structures?
Kaiser Ahmed, a perennial player, had boycotted the event in the past, due to what he referred to as “Hasina’s tyrannical government.” This year, he was cautiously optimistic, a marker of a turn toward a much more open, welcoming and inclusive spirit.
“I boycotted this event for a decade under Hasina’s oppressive rule. Today I’m here again in a free environment,” – Kaiser Ahmed
That the parade can unite religious communities, civic activism, and grassroots organizers is indicative of the space the parade can create to connect threads of society. Critics suggest that the name and themes should be thoughtfully deliberate. Without this focus, they caution it may risk becoming a point of fracture rather than of bringing people together.
