National Street Theatre Festival ends with a call for change
The weeklong festival in Dhaka showcased storytelling, art, and culture, uniting theatre groups from across Bangladesh through performances and discussions
The late afternoon sun cast long shadows across the Central Shaheed Minar as Professor Dr Syed Jamil Ahmed, Director General of the Bangladesh Shilpakala Academy, took the stage.
It was 8 February, and during the concluding ceremony of the National Street Theatre Festival 2025 (Jatiyo Pothonattotshob), his voice carried the weight of both nostalgia and urgency as he began to speak.
"We are now eager—more than ever—for theatre that speaks to the people. Alongside that, we dream of a Bangladesh that celebrates festivals with the same passion. If theatre has lost its audience here, it is because, at some point, we strayed. We indulged in flattery, in empty appeasement."
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The crowd fell silent, absorbing his words, which were more than mere reflection—more so a call to restore theatre to its former brilliance. As he spoke, Dr Jamil painted a picture of the future he envisioned—one where festivals flourished, theatre brimmed with life, and performances served as a powerful voice for the people rather than just an entertaining spectacle.
For seven days, from 2 to 8 February, Bangladesh Shilpakala Academy and the Bangladesh Group Theatre Federation jointly organised the National Street Theatre Festival 2025.
With support from the Ministry of Cultural Affairs, the festival had been a whirlwind of performances, discussions, and reflections. The final evening's ceremony was helmed by theatre organiser Tapan Hafiz, ensuring that the festival ended with the same fervour with which it had begun.
As the discussion sessions wrapped up, the stage transformed.
Dancers took the places of the speakers, poised like silhouettes against the floodlights. Under the choreography of Shamsi Ara Shayka, the Navaras Dance Troupe performed magnificently. That was followed by another breathtaking performance from Nandonik Dance Organisation, directed by Nilufar Wahid Papri.
Then, in the open courtyard of the Shaheed Minar, the much-awaited theatrical performances began. With the slogan "A polished Bangladesh under the new sun of revolution," the National Street Theatre Festival entered its final act.
On the festival's final day, Dhaka Theatre premiered 'Onutjapito Manusher Akhyan' (The Untold Stories of Uncelebrated Lives), a powerful new production written by Sajid Ul Haque Abir and directed by Rafiqul Islam.
The play explored the fate of those who pass away unnoticed, their lives erased by time and indifference. Countless individuals vanish daily, leaving behind no political, cultural, or professional identity, ignored by both society and the state. Yet, even in obscurity, these nameless figures shape history in ways unseen.
In a world where human worth is increasingly measured in economic terms, the play served as a powerful reminder that no life is insignificant, and no death should be overlooked. It aimed to restore dignity to the forgotten, honouring their existence with compassion.
Marking the debut of both its playwright and performers, the production was dedicated to the late Ahmed Rubel, a former actor of Dhaka Theatre, paying tribute to his enduring legacy.
The National Street Theatre Festival 2025 concluded with an array of compelling performances. The final day saw Rangapeeth Theatre perform 'Shada Kaalo', written and directed by Sajjad Lipon, followed by Drishtipat Theatre's staging of 'Pora Matir Gondho', helmed by Abdul Halim Aziz.
The night ended with Dhaka University TSC's Padatik Theatre Group presenting 'Gunjan Bibir Pala', directed by Shaik Siddiqui.
Throughout the seven-day festival, numerous theatre groups from across Bangladesh took the stage, each bringing unique narratives to life. 7 February featured productions like 'Pukur Churi' by Aboyob Theatre and 'Dwip' by Natyatirtha, while 6 February saw performances including 'Pagla Ghora' by Gananatya Kendra.
Earlier in the week, audiences witnessed plays such as 'Dhwangshostup' by Sansaptak Theatre, 'Parash Pathor' by Bonolata Theatre, and 'Mrittikar Phool' by Hiron Kiran Theatre.
The festival, which began on 2 February with performances like 'Jora Tali' and 'Bijoy Nishan', has been a yearly tradition since 1986, championed by the Bangladesh Group Theatre Federation.
Organisers reaffirmed their commitment to preserving and expanding this cultural movement, ensuring that street theatre remains a powerful voice for artistic and social discourse.
