‘I chose Dhaka’: In conversation with Alliance Française de Dhaka Director François Chambraud

Whenever accomplished professionals arrive from foreign shores—often leaving a life of comfort, even if only for a short while— one can't help but wonder what truly motivates such a choice. 

It was with this curiosity that I began my conversation with François Chambraud, who will be serving as the Director of Alliance Française de Dhaka (AFD) for the next four years. Having worked in some of the world's most sought-after cities, I couldn't help but begin with a simple question: What drew him to Dhaka, a city that so often tests even the patience of its own residents?

"I'm here because I chose to be here, to be very honest. I was drawn to Bangladesh, mainly Dhaka, in particular. Bangladeshi culture is rich, but also the prospect of Alliance and what we could do in the next few years excited me, which is why I'm here," said François.

For François, the story of Alliance Française is, in many ways, the story of his own life. Ever since his gap year—back when he was just eighteen—he knew he was destined to be a traveller. Through Alliance Française, he found the perfect conduit for that dream, coupled conveniently with the prospect of avoiding the mandatory military service back home in France. In this institution, François discovered the ideal balance: a life where work and wanderlust could coexist seamlessly.  

With 25 years of experience under his belt within the Alliance Française network, François has worn many hats—serving in leadership roles across Dublin, Pretoria, Beijing, Shanghai, and now, Dhaka. 

For François, running AFD isn't just about curating cultural programs or academic initiatives; it's also about making sound, strategic business decisions. In his view, financial prudence is essential—because without careful management, there might not be sufficient resources to fund the very cultural events and artistic collaborations that define AFD's mission.

Originally a linguistics specialist and an English lecturer in Paris, he has always nurtured a deep affinity for the arts. His curiosity led him to study Chinese during his time in South Africa, and his leadership extended beyond language and culture—he once headed a major student residence in Nice as Board President, overseeing initiatives that reflected his enduring commitment to global exchange and education.

"At this point, I'm basically married to Alliance Française," joked François.

Still, I couldn't ignore the elephant in the room. Unlike in the past, when Bangladesh's cultural identity felt more compact and cohesive, the country today stands at a crossroads—its social and artistic identity being stretched and reshaped by ongoing political and societal transitions. 

These inevitably raise questions about how culturally viable Bangladesh truly is at this moment. So I asked François how he perceives this evolving landscape, and more importantly, how he plans to navigate a working environment that's far from ideal.  

Before addressing the point directly, François recalled an interview he had with the ministry before embarking on his Bangladeshi chapter. It was during that conversation that he, too, was asked why he had placed Dhaka at the top of his list—ranking it even above regional heavyweights, including the Alliance Française branch in Kolkata.  

"It's a mix of professional and personal reasons," François reflected. "My teenage trips to India and Nepal gave me a completely new perspective on life and a deep appreciation for the cultures from this part of the world. Coming back to Bengal, to Dhaka, feels like coming full circle—returning to where it all began for me."

On top of that, François says he was made well aware of the persisting challenges and that they don't really bother him since he was never too keen on comfort anyway. 

Before outlining his own plans for his tenure in Bangladesh, François first took a moment to praise the work of his namesake and predecessor, M François Grosjean, who led Alliance Française de Dhaka over the past four years. 

François noted that in recent years, AFD had truly found its stride on stage. The productions, he said, could easily be described as "Franco-Bangladeshi" collaborations. The stories that may have originated in France were being reimagined and retold through the voices and faces of Bangladeshi artistes.

However, for the ever-present teacher inside François, it wouldn't be a million-dollar guess to predict that a lot of his time and energy will most probably revolve around the educational aspect of AFD. 

"Alliance has to walk on two legs—the first one being the French education and the other one being the cultural aspect. I will be paying a lot of attention to our classes. This is the first Alliance I have managed which doesn't have a native French speaker in its pool. There's a lot of room for improvement in our teaching and education arena," he said."

He continued, "As for the cultural aspect, I chose this because I know our gallery here is one of the cornerstones of art in Dhaka. There's always an ongoing exhibition in our gallery. Personally, cinema and visual arts are on top of my list."

François followed this up by stating that he himself is a practising music enthusiast, having played the bass guitar for the better part of his life, and he aims to do something viable with AFD when it comes to music as well.

"Music will also be on top of my list. As a matter of fact, I am hopeful of bringing a French trio to Dhaka for a performance in December. They will probably be accompanied by a couple of Indian musicians as well," he said.

Another fascinating takeaway from my conversation with François was his distinctive perspective on how he views Alliance Française de Dhaka. He likens it to a kind of "cultural SME"—a small and medium enterprise of sorts—that operates on a non-profit model, sustained only by a modest subsidy from the French authorities.  

For François, this means that running AFD isn't just about curating cultural programs or academic initiatives; it's also about making sound, strategic business decisions. In his view, financial prudence is essential—because without careful management, there might not be sufficient resources to fund the very cultural events and artistic collaborations that define AFD's mission. And that, as he put it, would ultimately defeat the purpose of being both an educational and cultural institution.