When renowned filmmaker Mostofa Sarwar Farooki was appointed to the advisory panel after the July Uprising, it sparked a wave of debate. Many conservative voices expressed concerns, questioning whether he could represent their values. However, those working to reshape the cultural establishment in post-July Bangladesh welcomed the decision, seeing Farooki as someone who understands the inclusive spirit of the movement.
The July Uprising was not only political — it was deeply cultural. And as such, cultural leadership needed to go to someone who truly embraced the values of July: inclusion, diversity, and a new narrative for Bangladesh. In that regard, Farooqi’s appointment was more than symbolic — it was strategic.
For years, Bangladesh’s mainstream culture has been heavily influenced by external trends, particularly those from Kolkata. As a result, Islamic cultural expressions — such as those by groups like Saimum and Kolorob — remained outside the mainstream. Farooki made a visible effort to bring these voices into the central cultural ecosystem. By aligning these Islamic art groups with broader cultural platforms, he set a new standard for inclusion.
After the uprising, cultural narrative-building became a top priority. Under Farooki's direction, several major programs, festivals, and concerts were organized to spread the spirit of July across the country. Events like the Chittagong Resistance Concert, Drone Shows, Private Student Resistance Day, and Madrasa Resistance Day added new dimensions to public cultural expression.
Perhaps most notably, on August 5th, the Mass Uprising Day was celebrated in a massive public event at Manik Mia Avenue — an emotional and unifying occasion for all.
Farooki's role wasn’t limited to events. He also focused on preserving the history of the uprising through proper documentation. The Ministry of Cultural Affairs reportedly produced around 19 documentaries, showcasing the stories of different martyrs and their dreams. The visual quality, musical arrangements, and narrative style of these films have been widely appreciated. Many ask — could any director from the traditional FDC syndicate have delivered this quality? The answer, many say, is no.
Farooki didn’t just lead from the top — he worked alongside teams on the ground. From the stage at Hatirjheel to meetings with grassroots organizers, he stayed deeply involved, especially in events featuring private university and madrasa students.
He also took responsibility for creating the July Martyrs Memorial Museum, bringing together organizations already working on the July narrative to collaborate on this important institution.
To be clear, no one is claiming that Farooki is the "best." But how many people in our industry had the ability to bring together all cultural stakeholders and build a truly inclusive ecosystem?
We may not say no one else could do it, but who else could do it this well?
When we now attend events where Islamic songs are followed by Lalon music, and then perhaps a rock performance, we are witnessing a Bangladesh that represents all of us. It’s a cultural vision that celebrates diversity and promotes the July spirit.
So yes, with confidence and gratitude, we can say:
“Farooki, Please Take a Bow.”
Farooki: Take a Bow
