Afifa Jahan Pushpo

Pahela Baishakh is the festival of the Bengali soul. The first day of the new year is not just about turning a page on the calendar—it is a profound realization of self-identity through a pull towards thousand-year-old traditions, culture, and roots. On this day, the Bengali nation, regardless of wealth or class, comes together to forget past sorrows and embrace the new year with hope.

Pahela Baishakh began during the Mughal era. Emperor Akbar introduced the Bengali calendar to facilitate agriculture, allowing peasants to pay taxes on time. Later, merchants initiated a new custom called “Halkhata” around this calendar. Through Halkhata, accounts of the previous year were settled, and new ledgers were opened for the new year. On this occasion, merchants invited customers, offered sweets, and often organized religious rituals or prayers. Thus, Halkhata became a festive cultural tradition.

With time, the charm of Halkhata has faded. Technology has turned physical ledgers into digital records, and the vibrancy of rural life is slowly disappearing. Yet, Pohela Baishakh still connects us to our roots and continues to reflect our traditions and folk culture in new ways.

The people of Bengal have historically excelled in artistic craftsmanship. Their lifestyle and sense of art eventually manifested in Bengali folk and handicrafts. Jamdani, Nakshi Kantha, Patachitra, clay dolls, Sataranji, pottery, metal craft, woodwork, conch shell crafts, seashell crafts, bamboo and cane items, shola crafts—these are examples of rural artisans’ intricate work. Many of them created these art pieces during leisure time, outside of farming or household chores, and over time, these crafts became integral to Bengali culture.

These crafts not only contribute to economic prosperity but also carry the legacy of Bengali heritage, culture, and history. Shital Pati, clay plaques, utensils made of leaves and straw, and folk paintings are all part of our folk tradition. Specially 'Nakshi Kantha ' and Manipuri woven saris remain symbols of pride for Bangladesh.

Regrettably, this artistic wealth is now being claimed internationally by others. Countries like India are asserting Intellectual Property Rights (IPR) over our traditional products, claiming them as their own. IPR refers to ownership rights over a country's intellectual and artistic creations. Once a country or organization receives recognition, it gains the right to commercially use, own, and take credit for those products internationally. As a result, many traditional Bangladeshi crafts are being registered under other names, and we are gradually losing our own cultural identity.

In this context, Pahela Baishakh is not just a festival, but a powerful medium to preserve our cultural heritage. This day brings with it rural fairs, exhibitions of handicrafts, and performances of folk music and dance. Notably, the procession organized by the Faculty of Fine Arts in Dhaka University to celebrate the New Year has gained international recognition as a UNESCO “Intangible Cultural Heritage.” The masks, folk paintings, traditional costumes, and folk instruments—all combine to make this parade a moving exhibition of Bangladesh’s artistic beauty.

Welcoming the new year with Rabindra Sangeet under the banyan tree at Ramna by Chhayanaut makes the celebration even more vibrant. Regardless of wealth or status, everyone joins this festival, wearing new clothes, enjoying traditional foods, and spreading a message of joy and togetherness.

Therefore, Pahela Baishakh is not just a date—it symbolizes our existence, our art, our history, and our future. Through this day, we can revive our fading culture, if only we come together with love for our roots and take action to preserve them.