Tag Archives: Bangladesh

Bengali New Year – Pohela Boishakh

Age: 25

Date Collected 4/21/2026

Context:

A good friend of mine, who immigrated with his family from Bangladesh for college, told me about the Bengali New Year celebration, “Pohela Boishakh” or পহেলা বৈশাখ. He told me about the general celebration and how his family’s celebrations differed from the norm.

Text:

On April 14th, “my family wakes up, we dress in red or white, and eat this fermented rice, mashed potatoes, and hilsa fish.” He explained to me that he thinks the white represents purity, and red represents joy or energy. But to him, the colors really symbolize the spirit of the new year and the celebration of Bangladesh. He tells me that breakfast typically consists of mashed foods, lots of vegetables, and starches, with a single piece of hilsa fish. He explained that the Hilsa fish is Bangladesh’s national fish and a cultural icon. When he was young, his family taught him that’s the way things are done, but he never really questioned it until he came to America and learned about our traditions. He explained that as he got older, his family stopped making the fermented rice (which would actually get you a bit drunk). For them, it was just a tradition that his parents wanted to pass down to him and his sister, “kind of like hunting for easter eggs.”

After the breakfast, the celebration isn’t over. They move to the streets, painted red and white. Parades go through the streets and people celebrate kind of like a big picnic. He explained it was “similar to the Marty Gras,” but without all the alcohol or debauchery. But a similar level of excitement, fun, celebrations and an almost parade like atmosphere. His celebration was quite different from those in the big cities, where they used parade floats and giant symbolic animal heads. In the countryside, things were simpler, and people would set up around the grass at parks and visit each other’s setups. It was a time for old friends to connect. He mentioned his dad’s old soccer friends had a spot at a local park they would revisit every year. Lunch continued the excitement and festivities with street food or barbecue-style setups. The countryside differed from the city in that the focus was on building community rather than on the nation or on symbolic ideas.

The celebration would continue throughout the day and into the night; families return home and enjoy an intimate family meal with fish, lentils, and, of course, rice. He explained that typically, the women would stay back or leave the celebrations early to cook and prepare the family dinner. Sometimes they would be able to take rotations, but unlikely. He explained that in his family, most of the cooking was done the night before, so there was maybe like an hour of work to do, and he would return home to help his mom and sister cook. To him, the festival was patriotic and a way to unite as a community, to remember his identity and beliefs, and honor his family and traditions.

Analysis:

The story was very interesting to me; it sounds similar to the festivals and events I’m familiar with, but at the same time, so different. The rice and a single slice of fish remind me of an almost religious practice because it is so specific and symbolic. But the practice is regional, not religious; people in India, including West Bengal, also celebrate it. I found it funny because my friend is a devout Muslim who refuses to drink when we go out. So, his telling me that the fermented rice got him buzzed had me feeling betrayed. But, he told me that “it’s nothing and doesn’t count as a sin.” This was very interesting and makes me think that aspects of the celebration, like the fermented rice must predate the country’s Islamic influence.

In addition, the meal seems to be a symbolic fresh start to the year. The rice and slice of fish are humble and could represent a simple style of living, or starting the year humbly. The fish, also the national fish of Bangladesh, suggests that including fish conveys national pride and recognition of the country.

My friend also mentioned a lot of details that he wasn’t sure about some of the traditions. He knew what they were and how to do them, but he never really considered why. They were just his way of life. His normal. It wasn’t until he experienced new cultures in coming to America that he began to think about why.

In addition the traditions aren’t static, they adapt. Fir instance he joined his mom and sister in cooking, and as he’s grown older, they no longer eat the rice. This just goes to show how traditions can change over time. As other cultures and norms change, some traditions might be viewed as less important, childish, or outdated, and may be cut or replaced by new traditions.

The costumes (red and white clothing) serve to show who is participating in the holiday. They serve as a physical representation of membership in the folk group, community, and celebration. They have symbolic significance, but my friend didn’t focus on the colors’ meaning. What mattered to him was that the colors represented Bangladesh and, more specifically, the country’s holiday. The same could be said about the hilsa fish and fermented rice. The meaning of each individual piece might not be significant or known to every participant, but the larger cultural meaning of being Bangladeshi and “in” on the tradition is where the meaning lies.

I also found that Dhaka’s procession, animal floats and general celebration style is protected under UNESCO, but not the holiday itself.

After moving to LA, he and his family had to change their traditions even more. He said that the celebrations are fragmented. Despite the large Bangladeshi population in K-town, it seems most celebrations are held at home and don’t last as long as they do back home. This shows how, as cultures and ideas spread to new communities, they must change and adapt to those communities. It seems the Bengali population in K-town is not unified yet to come together as a community and celebrate. But, it could also be because K-town isn’t “home.” His family just immigrated fairly recently, so they don’t have the same communal bonds they had back home. So that could be a factor as well. In LA, the family becomes the folk group, whereas back home, it was the community or even the nation as a whole.

Weaving Air – Muslin

Age: 25

Date Collected: 04/30/2026

Context:

My informant is a good friend of mine who immigrated from Bangladesh for his college education. He was telling me about the story of a legendary fabric from his hometown, Dhaka, Bangladesh. He told me when we were hanging out outside of the USC Fisher Museum of Art.

Text:

Me: Okay. So you were telling me a little bit about back home in Dhaka, that’s where the muslin fabric comes from. Right?

EJ: Yeah, thats where its from. There used to be like this whole area kind of like the Arts District in LA like a municipality where they would make this cotton fabric. It’s unique because it was so thin, they called the skill “weaving air” because it was so light and thin, and that’s like one of the things that we’re very proud of culturally. They used to be able to weave it so tight the thread counts were really high. You could fold it up into a matchbox.

Me: You told me earlier that they don’t make it the same anymore right? Can you talk a little more about that.

EJ: Yeah for sure.. I don’t know the whole story, but I just know that it originates from Bangladesh. Dhaka is exactly where it comes from. Dhaka used to be like a hub of culture and and money and then in about sometime in like whenever, the the English colonized it. They took the fabric for their royalty. The royalty and wealthy used to wear this in Bangladesh. The English took it and brought it back home and they cut off the hands of the weavers who would make this fabric.

Me: Jesus. Why do you think they’d do that?

EJ: I think they just didn’t want people who were wearing the same things as their royalty.

Me: Yeah, that sounds like the English hahaha. So there’s no more muslin makers in Dhaka.

EJ: No, not like that. The old ways were lost. After loosing their hands, they couldn’t make any anymore, so they retired and the art was lost.

Me: But, is it extinct?

EJ: No, there’s new places that make them still by hand. But it can’t fit into a matchbox and isn’t the same. They can’t do the same techniques.

Me: Do you have any in your family, or have you seen it before?

EJ: No, I don’t think we have any. But, I’ve been to weddings and they have it there.

Me: That sounds like a terrible thing to accidentally misplace. Oh also earlier you were also showing me that Instagram reel that was kind of showing appreciation for Bangladeshi culture, right? Like how it’s reflected in modern life and also in the future.

EJ: Yeah, yeah, that reel was kind of just talking about how the muslin was used on the first airplane that the Wright brothers flew, and also on the Artemis II, which is really cool.

Me: How do you feel about seeing part of your culture being used by other people? Is it like something that makes you happy or a little upset?

EJ: You know, it’s really cool to see Bangladeshi culture being represented, especially on huge moments in like this.

Me: Yeah, I can imagine there’s a lot of pride in that, cause I mean, this is essentially the future of humanity, and your culture is playing a huge role in that. Man might not have been able to fly or land on the moon if it weren’t for those weavers and your culture’s history.

EJ: Exactly.

Analysis:

I did a quick search to see what is true, and what might be more folklore from the story. From what I could tell, Dhaka is genuinely one of the most impressive textiles ever made. The Wright brothers did not use any Dhaka Muslin; they used an “Americanized” version that was derived from the impressive tradition. The muslin used on the Wright brothers’ plane was taken to the Moon by Neil Armstrong and later to Mars by the Ingenuity rover.

What might be more folkish is that the Wright brothers did not actually use Dhaka’s muslin. Also, the hand-cutting story is not historically verified, but that doesn’t mean it never happened. What is true is the major damage done to the Bangladeshi people as a result of the English colonists.

The history of muslin reflects the beauty and majesty of old Bangladesh. As my friend mentioned, it thrived culturally and economically. Then the English East India Company came and colonized the country. In the process, many fine folk arts were lost. The story of the cutting of hands might be true, but whether it is literal or not, the imagery is symbolic for what the English colonization of Bangladesh did to the Bengali people. The cutting of their hands represents the stripping of culture, practices, and traditions. The legend of cutting hands doesn’t have to be historically accurate to be insightful and meaningful. It is a way to deal with the loss of identity as well. Hands are essential for making a living; they hold our fingerprints and identity. When the English “cut off” their hands, they were cutting off the ability to live and continue as they had before.

My friend had pride in saying that you could fold a full muslin outfit into a matchbox size. The image is impressive and impossible, showing the value of the golden pre- colonial era. The pride in calling it “woven air” seems to stand in for the old ways as a whole. Traditions were lost; they weren’t all perfect, but they were irreplaceable and, most importantly, they were Bangladesh’s. The fact that no one has ever been able to accurately replicate the hand-woven artistry of Dhaka’s weavers once again communicates that something irreplaceable was lost when Bangladesh was colonized.

It’s an interesting choice in story to tell me. I had been asking him for examples of Bangladeshi culture, foods, festivals, stories, jokes, sayings, and more. From all of them, he told me this one, which is quite interesting. When he first told me, he made sure to mention the impact he learned from the Instagram reel. That THIS is his culture and it had an undeniable impact on human history. He didn’t have to explain what the muslin meant culturally, and I didn’t necessarily even need to understand. The story communicates Bangladeshi pride in a way that anyone can understand and appreciate.

Looking at the full arc is quite interesting too. We saw a folk art that was a people’s pride that got stolen by outsiders and used to dress their royalty. The creators were no longer able to make it, and the tradition seemed lost. But centuries later, it was brought into the limelight as part of humanity’s journey into space. The story reframes the tragedy and pain into a story of how Bangladesh made something that monumentally changed human history forever.