Country’s lone ethnological museum fading into obscurity

Tucked away in Agrabad, Chattogram, Bangladesh's only ethnological museum stands as a quiet custodian of history.

Yet once envisioned as a vibrant space to preserve and showcase the diverse cultures of the country's ethnic communities, the museum is now grappling with neglect, limited resources, and a noticeable decline in public interest. 

Museum officials say in the past five years alone, visitor numbers have dropped by a striking 43%, raising concerns about its future.

The museum holds a unique position, not just nationally, but across Asia. There are only two ethnological museums of its kind on the continent: one in Bangladesh and the other in Japan. Its journey began in 1965 under the then Pakistan Department of Archaeology, and it was formally inaugurated on 9 January 1974 by Yusuf Ali, the first education minister of independent Bangladesh. 

Built on just over an acre of land, the institution was designed to preserve the lifestyle, traditions, and heritage of various ethnic groups.

Inside, the museum houses more than 3,200 relics. Beyond Bangladesh, it also presents elements of ethnic cultures from countries such as India, Pakistan, Kyrgyzstan, Australia, and Germany. The exhibits vividly portray the lives of indigenous communities from the Chattogram Hill Tracts, including the Chakma, Marma, Tripura, Bawm, Khiyang, Khumi, and Rakhine.

Among its treasures are thousand-year-old Nakshi Kantha quilts, traditional clothing, ornaments, weapons, and musical instruments, each telling stories of identity and survival.

The central hall greets visitors with a ticket counter, three maps, and 12 striking murals painted by Italian artist Caroli, depicting the lives of indigenous peoples from Bangladesh and Pakistan. 

Elsewhere, models of Tripura and Punjabi women stand alongside dioramas of the Mro community. Replicas of traditional hill houses, displays of ornaments, and publications from the Department of Archaeology fill the space. One particularly unusual exhibit, a preserved fragment of the Berlin Wall, offers a glimpse into global history within this local setting.

The museum itself is modest in structure: a single-storey building divided into five sections, with a central hall and four galleries spread across 11 exhibition rooms. These galleries attempt to capture Bangla culture alongside the lives of Bangladesh's smaller ethnic communities and ethnic groups from Pakistan.

Despite its rich collection, gaps remain. Of the 50 small ethnic groups officially recognised by the government, nearly half have no representation here. Ethnologists suggest that the country is home to around 75 such groups, many of whose stories are still absent from the museum's narrative.

Time has also taken a toll on the building itself. Nearly six decades after construction began, structural weaknesses are becoming increasingly visible. During the monsoon, rainwater seeps through the roof, posing a serious threat to the artefacts housed within.

Md Amiruzzaman, the museum's Deputy Curator, acknowledged the issue, noting that the ageing infrastructure is a growing concern. He said that higher authorities have been informed and that there are plans for modernisation, though progress remains constrained by budget limitations.

The issue of representation has also drawn attention at the policy level. 

On 23 March 2019, the government officially listed 50 small ethnic groups through a gazette notification. Still, experts argue that a truly representative ethnological museum should reflect the broader diversity of the country.

"Every small ethnic group of the country should have representation in an ethnological museum," said Ratan Chandra Pandit, director general of the Department of Archaeology.

Despite its challenges, the museum continues to attract an average of around 200 visitors daily, including both local and foreign researchers. Ticket prices remain accessible, Tk20 for domestic visitors, Tk400 for foreigners, Tk200 for SAARC nationals, and Tk10 for school students.

However, the decline in overall footfall is hard to ignore. Visitor numbers dropped from 42,160 in the 2019-20 financial year to 24,022 in 2024-25. The most recent figures for 2025-26 show only a slight increase to 24,714, still far below previous levels.

Behind the scenes, a manpower shortage is further complicating matters. Of the 30 approved positions, only 16 are currently filled. This shortage affects everything from visitor services to the preservation of artefacts.

For many visitors, the experience itself feels incomplete. A lack of detailed descriptions beside exhibits makes it difficult to fully engage with what is on display.

"I haven't noticed any significant changes after coming back after 15 years," said Mahima, a returning visitor. 

Another visitor, Al Hasan, echoed the sentiment, "It would have been better if there were descriptive captions."

Experts believe the museum still has immense potential, if it adapts. Suggestions include digital archiving, interactive displays, QR codes, virtual reality experiences, and even the establishment of a dedicated conservation laboratory.

Aisha Takasaki, former director of the Osaka National Museum of Ethnology, pointed to its global potential. "This museum has the potential to be listed as a UNESCO Heritage site," she said, "but modernisation is essential."

Some small steps have already been taken. A flower garden, children's play facilities, and access to drinking water have been added to the premises. 

But for many, these improvements fall short of what is needed to revitalise the institution.