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emperor Akbar, associated with the introduction of the Bangla New Year; the emergence of Bangladesh and the anti-autocracy movement; Gazi’s Pat, a traditional visual storytelling technique; and Behula, a key character of the Mangalkavya Manasamangal, among others.

The programme will also include performances of the national anthem, Tagore’s Esho Hey Baishakh, and patriotic songs by 35 instrumentalists, UNB reported, adding that 200 students will carry a national flag during the procession.

Performances by indigenous communities and traditional ‘Laathi Khela’ will also be featured, organisers added.

The procession will begin at 9:00am from the Faculty of Fine Arts and pass Shahbagh, Raju Sculpture, TSC, and Doel Chattar before returning via Bangla Academy.

DU authorities have announced strict guidelines, allowing entry only via the Nilkhet and Palashi routes.

A cultural programme will also be held at Bakultala on the faculty premises at 4:00pm.

Celebrations will begin early, with Chhayanaut’s programme at Ramna Batamul at 6:15am and Rishij Shilpigosthi’s event in front of Shishu Park at 7:00am.

Traffic restrictions in key areas of the capital will begin from 5:00am, with alternative routes advised. Emergency services, including fire engines, ambulances, medical teams, and naval divers, will remain on standby.

Several gates of Suhrawardy Udyan will remain closed during the procession. All campus programmes must end by 5:00pm, after which no one will be allowed to enter. From 7:00pm last night, only vehicles with university stickers or emergency clearance were permitted on campus.

Rab will have 308 patrol teams nationwide, while the DMP will deploy SWAT, bomb disposal, K-9, DB, CTTC personnel, and mounted police units alongside regular police members.

On the eve of the Bangla New Year, Prime Minister Tarique Rahman greeted the nation and Bangla-speaking people worldwide, describing Pahela Baishakh as a unique symbol of Bangalee history, culture, and identity.

He said the country’s thousand-year-old traditions, folk culture, civilisation, and continuity of values are renewed with the arrival of the new year.

Traditional events such as Baishakhi mela, Baishakhi Shobhajatra, and halkhata reflect the multidimensional beauty of Bangalee culture, he said, adding that the new year brings fresh expectations and possibilities. He also expressed hope that harmony, tolerance, and generosity would strengthen democracy and the coexistence of differing opinions.

THE HISTORY

Historians trace back the festival’s origins to the Mughal era. During emperor Akbar’s reign, taxes were collected according to the Islamic lunar calendar, which did not align with agricultural seasons, often forcing farmers to pay before harvests.

To address this, Akbar introduced a new calendar system in 1584, later evolving into the Bangla calendar.

However, many historians differ.

Folk researcher Aminur Rahman Sultan notes that Meghnad Saha, Kashi Prasad Jayaswal, and Amartya Sen link the calendar to Akbar’s reign, while Ahmad Sharif argues that Akbar introduced the Tarikh-e-Ilahi, not the Bangla calendar, citing Abul Fazl. A third view traces its origin to the Sultanate period under Husain Shah.

Aminur adds that the nawabs of Murshidabad later institutionalised the calendar for administrative use.

Yet household celebrations predate these systems. Traditionally, on the eve of Pahela Baishakh, women soaked rice with water and tender mango twigs. The next morning they performed rituals like ‘Amani’ to ward off evil and welcome prosperity.

With expanding trade, Halkhata (new account books) added a commercial dimension to the festival.

Folk performances such as Gambhira, Maljora, Kabigan, Palagan, and Chaitra songs once defined rural celebrations. Today, urban elements like the Baishakh (Mangal) Shobhajatra and symbolic masks blend folk tradition with civic expression.

Reflecting on this evolution, Aminur Rahman notes that rural households once celebrated with simple foods like soaked rice, green chillies, onions, and roasted peppers, while hilsa is a later urban addition.

During the Pakistan period, when cultural expression faced pressure, the festival gained deeper significance. In 1967, Chhayanaut began welcoming the New Year with music at Ramna Batamul.

After independence, the celebration expanded in scale and symbolism. The Faculty of Fine Arts’ Shobhajatra, introduced in 1989, added a powerful visual language of resistance, hope, and unity.