Local Live Art

Reviving the Indigenous Pulse of Performance

At D’LAB 2019, a dedicated section titled Local Live Art was envisioned to reconnect the disappearing indigenous art practices of Bangladesh with urban audiences, international visitors, and contemporary performance artists. This initiative celebrated local traditions as vital sources of embodied knowledge, urging today’s artists to draw inspiration from their roots and bridge the distance between inherited ritual and global performance languages.

Among the featured works was the Banor Nach, where a traditional monkey handler performed alongside trained monkeys in a playful yet complex display of interspecies interaction—prompting reflections on ethics, spectatorship, and intimacy. Gaji’r Poter Gaan brought myth to life, as a potua artist painted scrolls of Gazi Pir’s tales while narrating and singing them live, turning visual art into spiritual performance. In Shaper Gaan, a sapure’s hypnotic music and serpentine movement invoked healing and folklore, transforming fear into reverence. Haat Safai, the street magician’s craft of vanishing objects and reciting local chants, reminded audiences of the poetic mischief and narrative power found in folk illusion. Putul Nach (Puppet Dance), brought to life traditional storytelling through handcrafted puppets, animated gestures, and live narration behind the screen.

Together, these performances offered a powerful counterpoint to contemporary art practices, encouraging artists and audiences alike to listen, witness, and learn from the rhythm, voice, and gestures of Bangladesh’s rich live traditions.

Photo Credit: Mahmuda Siddika, Ishtiaque Ahmed Foisal and Soumyak Saha Dhrubo