The July-August 2024 student uprising shook Bangladesh, forcing the prime minister’s resignation. Despite a brutal crackdown, the movement endured, with graffiti, music, and performances transforming public spaces into sites of resistance.
The integration of cultural activism into democratic movements plays a crucial role in amplifying political demands and engaging the public. The largest student uprising in recent history occurred in Bangladesh during July and August of 2024, where cultural activists significantly contributed to the movement against an undemocratic authoritarian government that had been in power for fifteen years. Among the various forms of activism, graffiti and protest art became some of the most striking and provocative expressions of resistance.
One of the most compelling aspects of this uprising was the spontaneous painting of graffiti on the walls of Dhaka and other major cities. At the height of the movement, students were even seen spraying paint on police riot cars, symbolizing defiance against state repression. This graffiti was created anonymously, with no specific individuals or organizations claiming responsibility. Even though there were some individual students and artists whose names became well known, the movement was decentralized, and the uprising reflected a collective spirit.
Cartoonists also made remarkable contributions to this movement. Among them, Ahmed Kabir Kishore, Mehedi Haque, and others stand out for their criticism of Hasina’s government and the violence against students, Kishore had previously faced severe repercussions for his work; he was imprisoned, subjected to physical torture, and ultimately forced into exile to ensure his safety.
Visual artist Debashis Chakraborty played a major role in this movement by creating powerful protest posters. These posters were widely circulated both online and offline. They were freely printed and distributed among the public by participants and supporters of the movement.
Organizations such as Samgeet and the Anti-Oppression Artists’ Association contributed with protest rallies. These events featured slogans, songs, and other forms of artistic expression. Samgeet led a procession on the streets, drawing on the style of the Shia Ashura procession but with calls of Abu Sayeed as a martyr. Abu Sayeed, a student at Begum Rokeya University, was gunned down by police while standing in the street alone and unarmed, with his arms stretched out. His shocking death became a symbol of the violent repression against and motivated many to join the movement.
The support extended beyond artists and activists. At one stage of the movement, when the agitating students were being detained by the DB (Detective Brunch of Police) office and subjected to inhumane torture, and a drive was underway to arrest them, a few teachers under the banner of an organization called the University Teachers Network (while most teachers remained silent, making the participation of those who did help particularly significant) stepped forward to rescue the students from security custody and to protect them from arrest and other attacks. This support gave the students immense strength and courage in the face of government threats against several university teachers.
The July-August 2024 Student Movement was a multifaceted struggle, encompassing demands for both governmental overthrow and comprehensive state reform. The involvement and sacrifices of diverse cultural stakeholders were instrumental in propelling the movement toward its goals, underscoring the power of cultural activism in driving social and political change.
Artists and musicians played a crucial role in the protest movement by creating and sharing powerful expressions of the movement’s messages and emotions. Their contributions went beyond mere artistic displays, beyond simply providing a backdrop or soundtrack to the movement; they helped galvanize public support, sustain the momentum of the protests. As the movement continued during the widespread government-enforced blackout, the streets continued to be filled with graffiti, protest songs, and rap music, helping to amplify and sustain the movement. Furthermore, the anonymous nature of many of the creative expressions challenged state repression and censorship. The art that lined the walls of the streets belonged to no one and to everyone. Now, those creative expressions – saved in digital form scattered throughout the internet – are a lasting visual and cultural record of the struggle, preserving the memory of Bangladesh’s July Uprising and providing inspiration for the future.
