CULTURAL practice, considered pivotal in building an inclusive society and youth development, has largely been neglected since the fall of the authoritarian Awami League regime as the sector has run into trouble with most publicly funded cultural institutes having closed or been largely inactive. The Shilpala Academy, considered the centre of cultural activities, also remains inaccessible to theatre groups and cultural activists as the academy premises are used as a temporary army camp. Many groups have recently talked about the scarcity of rehearsal space and lack of infrastructural support that has been an impediment to routine activities. Cultural activists do not, however, see the scarcity of rehearsal space as a problem typical of the current political situation. The number of publicly funded rehearsal facilities is inadequate and allocation for them is often done on political considerations. There are private facilities but barely affordable to most cultural groups that run as non-profit entities. Cultural groups also experience social-religious prejudices in renting rehearsal spaces. The interim government focused on democratic reforms of public institutions should also take concerns of the cultural groups and their demands seriously.
Successive governments have showed little interest in cultural growth. Resource allocation for the cultural sector has been minimal. In the national budget for 2024鈥�25 financial year, the allocation for the cultural affairs ministry was Tk 779 crore, less than 1 per cent of the total budget outlay. Cultural activists complain that the major share of the allocation is generally spent on development projects and human resources. Numerous reports have been published illustrating the poor state of the Shilpakala Academy branches in districts. On the occasion, when they get support, it is often to propogate government agenda, which was explicit during the Awami League regime. Time and again, Jatra Federation leaders have urged the government to revitalise the once popular traditional performing art of jatra by setting up a jatra academy, constructing an exclusive stage for jatra in the capital and allocating spaces in districts and monthly allowances for jatra troupes and artistes. The fact that the cultural affairs ministry has no complete list of traditional performing art forms also proves the persistent negligence of the cultural sector.
The government should, therefore, take steps to address the concerns, especially demands of the cultural troupes about an enhanced access to rehearsal spaces. The government should also look into allegations that requests for rehearsal spaces and access to other resources are approved on political considerations. Recognising that cultural growth is as important as economic growth, the government should review the allocation for the cultural sector and ensure that the allocated resources are used to increase the cultural engagement of the youth and for the well-being of artists in distress. The authorities should also support independent cultural organisations and create the environment where they can properly function.
