Artists at Dhaka University’s Faculty of Fine Arts (Charukola) are working tirelessly to reconstruct the ‘fascist effigy’ that was set on fire just days ahead of the Pahela Baishakh celebrations marking the Bengali New Year 1432.
The effigy, which was the central attraction of this year's Ananda Shobhajatra (festive procession), was burned in a late-night act of vandalism.
But the artists have taken on the challenge of recreating the piece overnight at the advice of Dhaka University authorities, using makeshift materials such as corrugated sheets to meet the urgent timeline.
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During a visit to the Charukola premises, it was found that the artists were working with intense dedication despite the pressure.
They shared that the original motif had taken nearly a month to design and build — making it a near-impossible task to replicate within hours. Still, they remain determined to ensure that the spirit of the festival is not diminished.
“The original artwork required immense effort and artistic devotion,” said one of the artists involved in the reconstruction. “Those who set it ablaze have not only insulted our creation but also the spirit of art itself. We demand exemplary punishment for the perpetrators.”
University authorities confirmed that artists had resumed work from the morning and added that the matter had been left entirely in their hands. "We trust the artists and their commitment to the cultural heritage this festival represents," a spokesperson said.
This year’s Shobhajatra features several symbolic motifs aimed at voicing protest against authoritarianism. Alongside the reconstructed ‘face of fascism’, other artistic elements include representations of hilsa fish, tigers, palanquins, birds, and even a model of the popular ‘Mughdho’s water bottle’, blending satire with tradition.
The attack on the motif has sparked outrage and debate across social and cultural platforms, but the artists' swift and defiant response has reignited hope and pride among supporters of free expression.
As the first light of Pahela Baishakh dawns, the reconstructed effigy will stand not only as a symbol of resistance to tyranny but also as a testament to the unwavering spirit of Bangladesh’s artistic community.