The lure of "alpana"

"Alpana" as seen at the Shaheed Minar

"At first it was used in festoons of cloth which was hung on walls. In this the famous artists like Zainul Abedin, Quamrul Hassan and Sarwar Hossain participated. So did artists of today like Hashim Khan, Rafiqun Nabi and Abul Barq Alvi. As a student in the late seventies I have joined in this occasion myself under their guidance.

"From 1980 to 1990 we used to do 'alpana' from the Shaheed Minar to the National Museum and other parts of Shahbagh, carried away by the festival mood. We used plastic paints which had various oxides mixed in it along with water. After about two months this is washed away with the wind, rain and rubbing of footsteps. The responsibility for this was given to the Fine Arts Institute who collected the students for this purpose. We also put lines from famous poets, like Nazrul, Tagore and Shukanto, who have celebrated the Bangla language, on the wall opposite the Shaheed Minar. Lines from Shamsur Rahman and Abul Hasnat were also used. Along with the lettering was 'alpana' which were based on folk motifs of 'pitha', and shapes of leaves, flowers and birds. Simple lines were used. We used to mix the paints in large earthen containers or drums and then distribute them among ourselves. With brushes of different sizes the students would fill the Shaheed Minar premises and this tradition is carried on till today.

"Decades back some people, in some quarters did frown upon the 'alpana' as something non-Muslim but this is not so today. The fascination for designs can be seen among the aboriginal people of Australia and Africa. We find motifs even in our common boats and among the steel supports of the thatched houses."

Saidul Haque Juise says, "The roads play an important part in the Language Movement and that is why we decorate them to give them importance. This is an integral part of our old Hindu tradition of 'puja' which the artists were aware of. We now treat it as a part of our own culture. The artists in the 70s did a much better work than what we find today, going by photographs of that time. The importance behind conceiving and making of the designs have diminished. The painting from the heart and mind is somehow not there now. The work now is stereotyped and stultified. Twenty-first February is a new day but we do not feel any freshness with the oncoming of this day in the 'alpana'. The designs are made in the simplest and quickest manner and colours are filled in but not as in a labour of love. There is a specific fund for this and someone is appointed to take the students under their wings and do the work.

"I had told the authorities involved in the organisation of the 'alpana' to have a competition where the people could participate with enthusiasm and this art will flourish with so many more people taking interest in it. As a result people would come to see the 'alpana' for days together to marvel at who won the prizes and why. The entire Shaheed Minar environment could be brightened up with the help of artists and architects. Yes, there is an element of celebration, but the means of brightening up tends to be unvaried and repetitive. This work should be art work and should not be done just for the sake of doing.

"'Alpana' was once done with ground rice. Now this is done with paint brushes and the original beauty of the 'alpana' strokes are somehow not wholly preserved. Not enough importance is given towards this end. To do good 'alpana' work requires certain merit and skill which are not found in every artist. We must preserve the tradition as far as possible".

Hashem Khan, who once helped organise the "alpana" that went into decorating Shaheed Minar says, "Decorating the Shaheed Minar during February 21st has added a new dimension to Bangladeshi culture. Since Hindus live side by side with Muslims, 'alpana' has become a part of their tradition during occasions such as harvesting to bring in celebration and joy. To respect and remember the martyrs of 21stt February this 'alpana' tradition is being revived. With time this tradition has been established. This is a symbol of our respect for the Bangla language and the people who have died for it.

"Today the use of paint instead of ground rice brings in a variation and an element in experimentation. I think white should be maintained. Using a bit of colour is fine but overdoing this element of colour should not be overdone. Today it is the students of Fine Arts who play the most important role in this 'alpana' tradition, with teachers in charge. Posters, festoons and writing of patriotic verses of well-known poets from a part of this decoration process."