“I don’t know these arts. Mehfil organisers used to contact me to write and paint their advertisements on walls for one or two thousand taka, depending on the size of the work. After the revolution, I have not been getting as much work as I used to. It has been a month that I have been sitting idle.” Abul Kashem is a wall painter struggling in his mid-fifties because he has no work left. Dhaka, a city that dances with the beats of struggles and is tuned for hope, sings this familiar story like Abul Kashem.
If one walks through the streets of Shahbagh or the Dhaka University campus, one cannot miss the vivid splashes of colour that now adorn the city’s walls.
What were once blank canvases covered with layers of posters of politicians have transformed into expressions of art, protest, and the recent July revolution. Who are the artists of these new arts? Are they people like Abul Kashem? These walls once told the stories of change, creativity, and the shifting dynamics of a city’s identity, but now also tell the stories of those workers who used to earn their livelihood by painting walls. How are they now? What do they do? Have students take their place?
The transformation of Dhaka’s wall art culture mirrors Bangladesh’s evolving socio-political scenario. For decades, these walls served as platforms for political expression, considering whether they were near any university, often obscuring the original surface beneath thick posters.
But over the last few months, a significant shift has taken place. The walls of Dhaka are now adorned with striking graffiti from the map of Bangladesh to Palestine, which catches the eye of passersby.
The messages have changed from political campaigns to artistic expressions, reflecting a changing narrative in the city’s streets. And all this art was done by the students from school goers to university.
Graffiti and street art in Dhaka have gained momentum as young artists take to the streets to express their creativity during and after the revolution.
School-going students motivated by their struggles in the July-August protest and the death of their fellow friends used these walls as a canvas, a tool to express their solidarity and engage the world in the movement. From colourful depictions of cultural heritage to abstract designs, the walls of Dhaka now serve as a gallery for public art.
One of the most iconic examples is the wall art of martyred students like Mir Mugdha and Abu Sayeed.
These artworks tribute the country’s recent struggle while adding colour to the urban landscape.
For many residents, these artistic displays are a welcome change from the monotonous political posters that once dominated the cityscape. “The walls used to be cluttered with campaign posters. Now, they tell stories,” says Shakib Mahbub, a student at Dhaka University. “It’s like acknowledging what we have achieved.”
The transformation of wall art in Dhaka is not solely driven by artistic passion. There is a commercial aspect to this change. Businesses have recognised the value of wall space as an advertising medium, and the city’s walls have become prime real estate for brand promotion.
Companies, especially educational institutions and coaching centres, hire painters to create visually appealing wall advertisements.
These hand-painted ads are not just promotional tools but works of art. Brands are willing to invest in creative wall art to stand out in a crowded market and leave a lasting impression on potential customers. That is why they are now more willing to hire students or modern artists on a project basis rather than traditional painters who used to paint on a daily wage basis.
Traditional painters who once made a living from painting advertisements on walls are now struggling to adapt to the changing market. Abul Kashem, a veteran wall painter in Dhaka, is one individual whose livelihood has been affected.
Abul Kashem, now in his late 50s, spent over three decades painting advertisements on Dhaka’s walls. He was once in high demand, painting ads for everything from local businesses to political campaigns.
“I used to be busy all year round,” Kashem recalls. “People would hire me to paint their slogans and advertisements. It was hard work, but it put food on the table.”
However, as the demand for traditional hand-painted ads declined, Kashem struggled to make ends meet. The rise of digital printing and the influx of graffiti artists have made his skills less relevant in today’s market.
“Now, people want spray paints or fancy murals,” he laments. There’s no place for old-fashioned painters like me.” Feeling depressed, he plans to buy a rickshaw and earn his livelihood by pulling it.
Kashem’s story poignantly reminds us of the unseen cost of urban transformation. However, it is also relevant that Mr Kashem did not upgrade his artwork over time. His work is like what he used to do two decades ago. While the walls of Dhaka may have become more visually appealing, the livelihoods of traditional painters like Kashem have been left in the shadows.
The business behind wall art
The rise of graffiti and commercial wall art has created a new industry in Dhaka. Art studios and independent artists now collaborate with businesses to create custom murals and advertisements. These projects beautify the city and provide employment opportunities for a new generation of artists.
“It’s a win-win situation,” says freelance local artist Farhan Rahman. “Businesses get unique; I never knew I would get paid because of my hobby. The revolution became a platform to showcase our work.”
Some companies even use wall art as part of their corporate social responsibility initiatives.
For example, various organisations have commissioned murals promoting environmental awareness and social causes, blending art with advocacy.
The future of and on walls
As Dhaka continues to grow and evolve, so will its wall art. The city’s walls reflect its people, struggles, dreams, and aspirations. While the political posters of the past may have faded, the new wave of graffiti and street art brings a fresh perspective to the urban landscape.
However, it is essential to balance artistic expression and commercial interests.
The stories of artists like Abul Kashem highlight the need for inclusive growth that considers the impact on traditional livelihoods provided professional growth with time.
For Dhaka’s walls to honestly tell the city’s story, they must represent all voices – from the young graffiti artists to the veteran painters who have long been a part of the city’s fabric. Only then can the walls of Dhaka continue to serve as a canvas for change, creativity, and community.
In the words of Shakib Hasan, “The walls speak to us. They remind us of where we’ve been and where we’re going.”
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