Effat Saniya Nancy.

As twilight blended into the calm of evening, the Alliance Française de Dhaka resonated with the soulful strings of the Hawaiian guitar.

The Saturday program, organized by the Alliance Française, was graced by chief guest Md. Rashed Ahmed, Chief News Editor of Maasranga Television, who remarked, “It was not the floral welcome that touched me, but the deep emotional flow of music.”

The event began with a welcome address by Md. Forhad Aziz, one of the initiators of the Bangladesh Hawaiian Guitar Shilpi Parishad—an organization founded by guitar maestro Hasanur Rahman Bachchu and Forhad Aziz, dedicated to spreading the legacy of Hawaiian guitar in Bangladesh.

The evening’s performances opened with Amina Lucy’s rendition of Tagore’s “Borisho Dhora Majhe,” which moved the audience with its lyrical depth. Farhana Sulaiman followed with “Bhalo Achi Bhalo Theko,” evoking nostalgia and long sighs among listeners. Biplob Sharma then brought alive “Chander Sathe Ami Debona Tomar Tulona” on guitar, while Rumana Haider charmed the hall with “Ebar Jodi Keu Bhalobashto.”

Each performance carried waves of emotions—sometimes the ache of love, sometimes the warmth of companionship, sometimes the pull of unspoken feelings. The organizers expressed their belief that the sound of the Hawaiian guitar is the perfect beginning for spreading cultural harmony and awakening, particularly as a response to communalism and cultural erosion.The program was conducted by Effat Saniya Nancy.

Towards the end, the evening reached its peak when the session’s chair, Guru Hasanur Rahman Bachchu, performed “O Bondhu Re, Pran Bondhu Re” on his guitar. In that moment, the boundary between artist and audience dissolved—everyone united in music, emotion, and love.

Effat Saniya Nancy

As twilight blended into the calm of evening, the Alliance Française de Dhaka resonated with the soulful strings of the Hawaiian guitar.

The Saturday program, organized by the Alliance Française, was graced by chief guest Md. Rashed Ahmed, Chief News Editor of Maasranga Television, who remarked, “It was not the floral welcome that touched me, but the deep emotional flow of music.”

The event began with a welcome address by Md. Forhad Aziz, one of the initiators of the Bangladesh Hawaiian Guitar Shilpi Parishad—an organization founded by guitar maestro Hasanur Rahman Bachchu and Forhad Aziz, dedicated to spreading the legacy of Hawaiian guitar in Bangladesh.

The evening’s performances opened with Amina Lucy’s rendition of Tagore’s “Borisho Dhora Majhe,” which moved the audience with its lyrical depth. Farhana Sulaiman followed with “Bhalo Achi Bhalo Theko,” evoking nostalgia and long sighs among listeners. Biplob Sharma then brought alive “Chander Sathe Ami Debona Tomar Tulona” on guitar, while Rumana Haider charmed the hall with “Ebar Jodi Keu Bhalobashto.”

Each performance carried waves of emotions—sometimes the ache of love, sometimes the warmth of companionship, sometimes the pull of unspoken feelings. The organizers expressed their belief that the sound of the Hawaiian guitar is the perfect beginning for spreading cultural harmony and awakening, particularly as a response to communalism and cultural erosion.The program was conducted by Effat Saniya Nancy.

Towards the end, the evening reached its peak when the session’s chair, Guru Hasanur Rahman Bachchu, performed “O Bondhu Re, Pran Bondhu Re” on his guitar. In that moment, the boundary between artist and audience dissolved—everyone united in music, emotion, and love.