Nobo Kumar’s attempt at preserving ‘A World Heritage’
While rickshaw art has been recognised as an Intangible Cultural Heritage of Humanity, it is teetering on the edge of being forgotten
As I took a few strolls through the gallery at Alliance De Francaise's Gulshan Branch last week, a curious thought struck me — one that felt both amusing and a little eye-opening.
In Dhaka, and all across Bangladesh, there is a unique form of art that we encounter every single day. It is right in front of us, constantly moving, yet so familiar that it fades into the background of our busy lives.
Almost every rickshaw on the streets — except for the battery-powered 'teslas' — is a floating canvas, a vibrant piece of art on wheels.
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And while rickshaw art has been recognised as an Intangible Cultural Heritage of Humanity, it is teetering on the edge of being forgotten. Not too long ago, the intricate hand-painted designs that adorn the rickshaws nearly disappeared, replaced by mass-produced, lifeless patterns that lack the charm and soul of the original craft.
Rickshaw artist Nobo Kumar Bhadra's eighth solo exhibition, titled 'Rickshaw Artistry: A World Heritage', has been on display since 10 January and concludes later today. The exhibition honours the fading tradition of rickshaw art and serves as one man's heartfelt attempt to revive a cultural treasure that truly belongs to us.
Fondly known as 'Nobo Da' by his peers and others in the community, the artist began his journey in the late 1980s after spending five years gaining hands-on experience in creating film banners.
It was those very movie banners and posters that opened the door for Nobo into the world of rickshaw painting — a passion he has pursued alongside his full-time job at AFD.
"We are losing our heritage," Nobo expressed. "Not even 25 years ago, there were 83 skilled rickshaw artists. Today, there is barely a handful left. I hope people see this exhibition as an opportunity to witness something that truly belongs to us — something we must protect and preserve for future generations."
One striking aspect of rickshaw paintings — both in general and in Nobo Kumar's exhibition — is the deep connection between the nostalgic charm of Bangladeshi cinema fandom and rickshaw art.
Much of rickshaw art, including the pieces showcased in this exhibition, is drawn from film banners, which have found their way onto rickshaws in the form of colourful paintings and intricate designs.
"In those days, rickshaw garage owners had a deep appreciation for film banners and believed that featuring those images on their rickshaws would enhance their visual appeal," said Nobo.
"Movies run for a week in a cinema hall, but on the rickshaws, the art lasts for years," he added.
The artists used to take creative liberties in reimagining the posters, making them far more colourful and lively than the originals.
"That's why rickshaws ended up looking so vibrant and playful."
Over time, the original community of rickshaw artists was gradually pushed aside by cheaper and alternative forms of decoration, bringing their craft to the edge of extinction. Although recent years have seen a revival of Bangladeshi cinema, with films achieving both domestic and international success, the tradition of creating new film banners and transforming them into rickshaw art has faded away.
"We are losing our heritage. Not even 25 years ago, there were 83 skilled rickshaw artists. Today, there is barely a handful left. I hope people see this exhibition as an opportunity to witness something that truly belongs to us — something we must protect and preserve for future generations."
"These days, designing and painting a rickshaw plate costs around Tk300, but rickshaw owners can easily buy ready-made plates featuring older film posters for just Tk30 or Tk40 from the aftermarket and other sources," Nobo explained. "That's why our craft is becoming obsolete, and you no longer see rickshaws adorned with the latest film banners."
Shifting focus from the artist to the exhibition itself, many of Nobo Kumar's paintings embrace the vibrant essence of traditional rickshaw art, known for its bold colours and dramatic storytelling. His film-inspired pieces capture action-packed scenes frozen in time, filled with dynamic energy that breathes life into still images.
When exploring 'animal stories,' his work takes on a whimsical, almost surreal quality, blending humor with elements reminiscent of classic pulp cinema. In these imaginative scenes, oversized roosters wield swords like legendary warriors, while cheetahs transform into charismatic bartenders, and lions confront their midlife struggles in dimly lit bars.
In contrast, his pencil drawings introduce a striking shift. Devoid of their usual bright colours, these monochrome pieces maintain the iconic rickshaw painting style but bring out a more introspective mood. The absence of colour offers a fresh perspective — familiar yet strangely distant, reflecting a quieter, more contemplative side of his artistry.
On one side of the exhibition, a collection of rickshaw art-themed souvenirs is available for purchase, offering visitors a chance to take home a piece of this cultural heritage. However, calling them mere souvenirs would be an understatement, as each item is a work of art in its own right.
