Indian tabla player Mainak Biswas recently recounted his harrowing experience of anxiety and fear during a period of unrest in Bangladesh, where he and fellow musician Kallab Ghosh found themselves trapped for 48 hours following the cancellation of their concert. The incident, which took place in mid-December, has drawn attention to the rising anti-Indian sentiment in the region and the implications for cultural exchanges between India and Bangladesh.
Biswas and Ghosh traveled to Dhaka to perform at a cultural event aimed at fostering goodwill and artistic collaboration between the two neighboring countries. However, the concert was abruptly canceled due to escalating tensions in the country, primarily fueled by political unrest and public demonstrations against the Indian government’s policies. The cancellation left the musicians in a precarious situation, as they were unable to leave their hotel amid fears for their safety.
In an interview following their return to India on December 22, Biswas described the experience as a “worst nightmare.” He expressed deep concern about being targeted as a Hindu in a predominantly Muslim country, particularly during a time of heightened anti-Indian sentiment. The musicians were reportedly advised by local contacts to remain indoors and avoid any public appearances, as protests against perceived Indian interference in Bangladeshi affairs intensified.
The backdrop to this incident includes a series of political developments in Bangladesh that have strained relations with India. In recent months, there have been protests against the Indian government’s actions, including its handling of citizenship laws and border issues. These events have contributed to a growing sense of nationalism in Bangladesh, which has sometimes manifested in hostility towards Indian nationals.
The cancellation of the concert and the subsequent anxiety experienced by Biswas and Ghosh highlight the fragile nature of cultural diplomacy in the region. While music and art have historically served as bridges between diverse communities, political tensions can quickly overshadow these efforts, leading to situations where artists find themselves in vulnerable positions. The incident raises questions about the safety of artists traveling for performances in politically charged environments and the potential impact on cultural exchanges.
The musicians’ ordeal lasted for two days, during which they remained confined to their hotel room, relying on limited communication with their families and friends back in India. Biswas noted that the experience was not only physically confining but also mentally taxing, as they grappled with the uncertainty of their situation. The fear of being targeted due to their nationality and religion loomed large, exacerbating their anxiety.
Upon their return to India, both musicians expressed relief but also a sense of disillusionment regarding the state of cultural relations between the two countries. They emphasized the importance of dialogue and understanding in overcoming the barriers created by political strife. Biswas remarked on the need for artists to continue to engage with one another, despite the challenges posed by external circumstances.
The implications of this incident extend beyond the personal experiences of Biswas and Ghosh. It underscores the broader challenges faced by artists and cultural practitioners in navigating the complexities of international relations. As tensions between India and Bangladesh continue to evolve, the ability of artists to collaborate and share their work may be increasingly jeopardized.
In light of this incident, cultural organizations and governments may need to reassess their approaches to facilitating artistic exchanges. Ensuring the safety of artists while promoting cross-border collaborations will be crucial in maintaining the cultural ties that have historically linked India and Bangladesh. The experience of Biswas and Ghosh serves as a reminder of the delicate balance between art and politics, and the potential consequences when that balance is disrupted.
As the region continues to grapple with political unrest and shifting sentiments, the stories of artists like Biswas and Ghosh will likely resonate with many who seek to foster understanding and connection through cultural expression. Their experience highlights the need for vigilance and support for artists operating in challenging environments, as well as the importance of fostering dialogue in the face of adversity.
