Against the backdrop of the student-mass uprising that resulted in reforms, the wind of change is also expected to waft over cultural management, writes Md Mukhlesur Rahman Akand
CULTURE is the听integrated听pattern of human knowledge, belief and behaviour, as the Merriam-Webster dictionary defines, that depends on the capacity for learning and transmitting knowledge to succeeding generations. True it is that the existence of culture depends on its power of dissemination. Dissemination of knowledge can be of two types: intergenerational and intra-generational. The act of intra-generational dissemination of culture is relatively easy as well as trendy as most of the governments across the world exploit the state media to publish and carry forward its various contents 鈥� history, legacy, movements, art and artifacts, etc 鈥� as long as they do not contradict with the partisan government鈥檚 ideology.
It is often hard, on the other front, for the governments to perceive, plan and implement programmes and projects to transmit or disseminate cultural knowledge inter-generationally mainly because of lack of visionary leadership, lack of sensitivity to the issue, lack of knowledge of the strength of culture to unite people as a nation and lack of expertise, including required resources and technological knowhow. Nevertheless, the over-arching question often arises whether the government in power in any given period of time prioritises this issue in its development agenda.
Looking objectively at the overall management and supervisory role of a number of public entities such as the Bangladesh National Museum, Bangladesh Shilpakala Academy and the Department of Archaeology dealing with certain subsectors of Bangladesh鈥檚 culture such as heritage, artefacts and fine arts would explain the relevance.
Except the Shilpakala Academy, the other two organisations were born in the colonial British-India period. So, these two have to stay relevant in today鈥檚 context and time regarding their role as the agents of cultural dissemination. We know that there are preserves that require special care, curing and treatment of the objects and artefacts displayed in the museums and archaeological sites. The traditional method of doing it is just all right. But, at the same time, we must remember that our visitors today are the members of the 21st century and inhabitants of Industry 4.0.
They know what is what by means of available tools of connectivity. They know about the hybrid method of managing the museums and display centres. They know about the use of augmented reality and virtual reality at the display centres side by side the conventional on-the-rack display things. They enjoy it being part of the national history, archaeology and legacy only the way they are interested in 鈥� through the application of modern technology. And it begins at the very first step they make towards the museum, its ticketing system, the entrance, premises, the staff, lighting decorations and arrangements of things, everything. Thus, a combination of a more welcoming approach 鈥� day-to-day museum operation and the use of virtual reality and augmented reality technology-based software for display with the individual visitor鈥檚 personal engagement at the ongoing events side by side big digital screens on the spot of the historically relevant video 鈥� is only the minimum expectations of today鈥檚 museum visitors.
Replicas of the monuments and artefacts imprinted on T-shirts, key rings, earrings of women, pencils, pens, penholders and other household items are sold at the gift shops near the exits of the museums and display centres in almost all the countries of the world. People choose and pick them merrily as presents for their dear ones. It is an area to address with much attention as a considerable amount of revenue can be generated from this for the establishment that might be pivotal in self-sufficiency as a public entity.
The availability of transports and well-connected roads and communications system need to be concertedly developed in coordination with tourism and transport and highways departments so that the archaeological sites and the adjacent display centres can be reached easily.
The Shilpakala Academy is the creation of the independent Bangladesh. According to the constitutional provision, it was supposed to create, nurture and promote national culture and heritage making it accessible to the ordinary people so that they could participate in and contribute to our cultural development. But in the past 50 years or so, how close the organisation has reached this aim is controversial.
Its location and surrounding area is not welcoming to the people; neither do its premises and the structures reflect any aesthetic sense. The lighting, the design of different buildings and civic amenities inside the complex are deplorable, indeed. The way the whole campus has been turned into a concrete jungle is an example of mockery to the aesthetic beauty of a national academy engaged in upholding our national culture and heritage with all the finest manifestations.
Against the backdrop of a nationwide student-mass uprising that resulted in a sea change in the government mainly focused on the reforms and change for the betterment of the majority of the people, it is only rational to expect that along with other big thrust sectors, the wind of change would waft over the cultural management as well.
听
Md Mukhlesur Rahman Akand is a joint secretary to the cultural affairs ministry.