IN AN increasingly fragmented world, where perception frequently precedes fact, nations are no longer defined solely by their economic indicators or political developments. Culture — subtle yet enduring — has emerged as a decisive force in shaping global narratives. For Bangladesh, this presents not only an opportunity but also a pressing urgency. Cultural engagement, often dismissed as peripheral, in fact forms the bedrock of people-to-people relations, functioning as a form of ‘soft infrastructure’ that sustains ‘hard’ diplomatic goals. It is in this context that minister of state for foreign affairs’s recent emphasis on integrating culture into Bangladesh’s foreign engagement must be read as more than symbolic intent.
It signals a strategic recalibration of how Bangladesh seeks to be seen — and understood — beyond its borders. The timing of this shift is particularly significant. Over the past eighteen months, Bangladesh’s international image has encountered visible strain. Episodes of mob violence and the circulation of imagery such as black flags — visuals that, to external observers, may evoke associations with extremism — have unsettled diplomatic perceptions and raised concerns among international partners. Whether such interpretations are exaggerated is ultimately secondary; in the realm of diplomacy, perception often carries consequences independent of ground realities.
It is precisely within this gap between perception and reality that cultural diplomacy assumes critical importance. It offers not merely a corrective narrative, but an alternative framework through which Bangladesh can be interpreted — not as a site of volatility, but as a society grounded in creativity, plurality and historical resilience. More importantly, culture does not only project an image outward; it shapes values inward. The deliberate promotion of inclusive cultural expressions can reinforce norms of tolerance and coexistence, subtly countering populist narratives that draw strength from division and exclusion. However, for cultural diplomacy to be effective, Bangladesh must move beyond a narrow understanding of cultural export. For decades, the country’s cultural outreach has remained disproportionately centred on cinema.
While film continues to be a powerful medium, it represents only a fragment of Bangladesh’s cultural landscape. A vast and underutilised reservoir of artistic expression remains absent from international platforms. Fine arts and sculpture offer a clear example. Platforms such as the Dhaka Art Summit have already demonstrated that Bangladeshi artists can command global attention, yet many continue to operate without structured institutional support or sustained access to policymakers. The absence of a dedicated liaison mechanism within the cultural affairs ministry limits the ability of artists to engage with state-led initiatives or participate in international exhibitions in a coordinated manner. Similarly, Bangladesh’s ceramics sector reflects a gap between potential and policy.
Artisans produce distinctive works — from traditional clay figurines to intricately carved wooden pieces — that possess clear appeal in global markets. Yet, these remain marginal to international supply chains, lacking the logistical and promotional support required to scale. The gradual disappearance of forms such as tapa putul and traditional clay animal figures signals not only a cultural loss but also a missed economic opportunity. Strategic partnerships with global craft networks, supported by targeted policy interventions, could reposition ceramics as a viable cultural export sector.
Perhaps, the most overlooked cultural resource lies in Bangladesh’s expansive corpus of folklore. These narratives, transmitted across generations, carry themes that are universally legible — love, endurance, moral conflict — yet they remain largely confined within local linguistic and geographic boundaries. Translating this heritage into contemporary formats, including illustrated literature, animation and theatre, could open new pathways for cultural transmission. Initiatives such as Bonobini — a collaborative project involving L’Alliance Française, the Goethe-Institut, the European Union and other diplomatic partners — demonstrate how traditional narratives can be reinterpreted through modern mediums such as puppet theatre to engage diverse audiences. However, the reliance on externally driven initiatives raises an important structural concern.
Over several decades, domestic cultural institutions have struggled to produce similarly innovative, outward-looking programmes. This imbalance is also evident in projects centred on the preservation of Old Town’s artistic heritage, where collaborations with European institutions have generated meaningful outputs — including sketches, comics and multimedia documentation of sites along the River Buriganga — but remain limited in scale and continuity. These examples point to a broader institutional gap. Cultural diplomacy cannot be sustained through sporadic projects or external partnerships alone; it requires a coherent, state-led vision anchored in long-term investment and administrative coordination.
Academic institutions offer an additional, yet underutilised, platform for cultural exchange. Universities are not only sites of knowledge production but also spaces where culture can be studied, contested and reimagined. At present, Bangladesh’s public universities remain insufficiently integrated into global academic networks, with limited visiting faculty programmes and restricted opportunities for sustained collaboration. Expanding partnerships with foreign universities could facilitate both intellectual exchange and cultural dialogue. Initiatives such as the recent collaboration between the Dutch embassy and the University of Dhaka, where artist Rini Hurksman conducted a month-long workshop culminating in a campus exhibition, illustrate how relatively modest investments can yield durable cultural and educational dividends. Equally important is the role of diplomatic missions themselves.
Embassies and high commissions often serve as the first point of contact for foreign audiences, yet many lack curated representations of Bangladesh’s artistic heritage. Incorporating paintings, sculptures and traditional crafts into these spaces is not merely decorative; it shapes perception at an immediate, experiential level. Institutions such as Bangladesh Bank, which hold extensive art collections, could play a role in this process by facilitating curated international placements. Such initiatives would not only elevate Bangladeshi art globally but also create avenues for cultural investment. If Bangladesh is to navigate an increasingly perception-driven global order, cultural diplomacy must move from the margins of policy to its centre — not as an afterthought, but as a deliberate and sustained instrument of engagement.
Namia Akhtar is an anthropologist
