How Shilpakala Academy is gradually losing its lustre

Even a few decades back, Dhaka dwellers were very enthusiastic about cultural activities. The footfalls in different places promoting arts and culture were considerable at that time. But now the legacy of all these cultural hubs is fading away as they no longer attract crowds and creative minds in great numbers. Once considered as Dhaka's cultural centrepiece, Bangladesh Shilpakala Academy (BSA) is a classic example of this decline.

There was a time when Dhaka residents looked to Bangladesh Shilpakala Academy (BSA) as a cultural refuge. It was where theatre groups rehearsed, where artists experimented, and where ordinary people, fatigued by the city's pace, found relief in music, plays, and exhibitions.  

But now many of those same voices speak of decline. The academy is now criticised for being more commercial than cultural, more political than independent, and more about bureaucracy than art. 

Cultural practice, vital to an inclusive society and youth development, has long been neglected. Since the fall of the Awami League regime, most publicly funded cultural institutes have either shut down or been largely inactive. Even Shilpakala Academy has been used as a temporary army camp, locking out most of the theatre groups and cultural activists.  

"The scarcity of rehearsal space is our daily battle," said Jamal Uddin, a theatre organiser. "Public facilities are allocated politically, private ones are unaffordable, and social prejudices restrict us further." What was once a hub of creative energy is now getting increasingly inaccessible.

This decline is not just about rehearsal space. In the 2024-25 national budget, the cultural affairs ministry received Tk779 crore, less than one per cent of the total. 

On condition of anonymity, a staff member of the National Art Gallery said, "Successive governments have allocated little for culture."

"The budget that is allocated for the academy, most of this goes to projects and staffing rather than supporting artists directly."

Moreover, there are frequent reports of poor infrastructure in district branches of Shilpakala, and programmes often appear more aligned with government propaganda than cultural diversity.

The scarcity of rehearsal space is our daily battle. Public facilities are allocated politically, private ones are unaffordable, and social prejudices restrict us further.

JAMAL UDDIN, THEATRE ORGANISER

Jatra, once a popular traditional art form, is a telling example. Despite repeated appeals from Jatra Federation leaders to establish an academy and ensure allowances for troupes, the art form remains neglected.

"The cultural affairs ministry does not even maintain a full list of traditional performing arts — a clear evidence of neglect," said Jamal Uddin.

The dual legacy of expansion and decline

Shilpakala Academy's history is not without achievements. It was founded in 1974 and was envisioned as a national hub for the arts. From 2009, its budget increased tenfold to more than Tk100 crore, helping establish 486 upazila-level academies and making cultural activities more accessible.

Theatre became one of its most impactful tools. In 2022 alone, Shilpakala sponsored 120 plays with Tk84 lakh, portraying both social themes and, at times, government triumphalism. Its music festivals, particularly the Folk Festival, have drawn thousands. The Asian Art Biennale grew into one of Asia's largest, with its 19th edition in 2022 showcasing 649 artworks by 493 artists from 114 countries.

These successes masked deeper rot. Political influence, allegations of corruption, and neglect of district-level activities steadily eroded its credibility. Over time, what should have been a beacon of creative freedom turned into a bureaucratic and politicised institution.

Corruption and credibility crisis

Financial irregularities from time to time have raised widespread concerns. Reports highlighted discrepancies worth more than Tk200 crore, inflated costs, fraudulent receipts, and misuse of funds. While budgets grew, many district branches lacked cultural officers, leaving grassroots initiatives to wither. 

Shahriar Alam, a student of Dhaka University and a regular viewer of the theatre at the academy, told TBS that these irregularities went hand-in-hand with commercialisation. "Yes, good programmes happen, but not often, and they come with strings attached," he said.  

Leadership instability has worsened things further. After years of controversy, Director General Liaquat Ali Lucky stepped down in August. He was succeeded by theatre scholar Syed Jamil Ahmed in September, who promised reforms, transparency, and diversity.

He called for allocating three per cent of GDP to culture, pledged to publish expenditure details online, and initiated moves to reform the outdated Shilpakala Academy Act of 1989.

But Ahmed resigned, leaving the academy without a director general for two months. During this vacuum, administrative inertia deepened. Later in September 2025, poet and cultural activist Rezauddin Stalin was appointed as the new director general, raising cautious hope for stability.

Alongside Stalin's appointment, the government has appointed four new directors in different departments of the academy: filmmaker Shaheen Dil-Riaz (Training Department), media and branding specialist Daniel Afzalur Rahman (Production Department), art researcher Salma Jamal Mausum (Research and Publication Department), and theatre personality Deepak Kumar Goswami (Drama and Film Department). 

What is at stake

The stakes could not be higher. Shilpakala once played a catalytic role against polarisation and extremism, using art as soft power to bridge divides. Its nationwide theatre programmes humanised political differences, while its folk traditions countered extremist ideologies with inclusive narratives.

Its research wing has published 57 books documenting endangered folk forms, and workshops; 175 even during the pandemic, which have helped to transmit cultural knowledge among young people.

Yet these contributions risk being overshadowed by neglect and mismanagement. Without structural reform, Shilpakala may fail to reach rural communities, support emerging artists, or address contemporary social issues.

Experts argue that cultural growth must be treated as seriously as economic growth. Activists are calling for political neutrality, independent audits, digital outreach, and stronger partnerships with universities and independent organisations.

"Cultural engagement is not optional; without it, we will leave youth vulnerable to extremism and division," said Shahnaz Parvin, a professional dance choreographer who came to rehearse at the academy.

Can Shilpakala rise again?

For Dhaka's older generation, Shilpakala remains a place of memory of vibrant plays, huge exhibitions in galleries, and the promise of culture for all. For many younger people, it is a distant name associated with bureaucracy, irregularities, and sporadic festivals.

Over time, the quality of Shilpakala Academy has undeniably fallen. From a hub of relief and inspiration, it has become a contested, politicised space. The appointment of Rezauddin Stalin and other directors may offer an opportunity to restore credibility, but only if reforms go beyond rhetoric and address the systemic flaws that have long plagued the institution.

Speaking to The Business Standard, Daniel Afzalur Rahman, the new director of the production department of BSA, said, "Working in Bangladesh's arts and culture scene is a huge responsibility and opportunity. My goal is to promote arts and culture across the country so that it booms with renewed prosperity. The bottom line is to broadly spread arts and culture throughout the country. I believe it is essential for a normal, healthy life for our people." 

For Daniel, the task ahead is not without challenges. "The plan is to replicate our successes for the whole Shilpakala Academy on a large scale. It's not a one-day job, but short-term and long-term tasks will run concurrently. So let's see what happens", Daniel added.  

If the academy can reclaim its cultural vision, it may once again be the guiding light it was meant to be. If not, Bangladesh risks losing one of its most important cultural institutions to neglect, commercialisation, and politicisation.