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To address this, Akbar introduced a new calendar system. Under his directive, astronomer Fathullah Shirazi developed a calendar combining the solar cycle with the Hijri system.

Introduced in 1584, it was initially known as the Fasli San and later evolved into the Bangla calendar.

History, however, remains layered with debate.

Folk researcher Aminur Rahman Sultan said, “There has long been debate among historians regarding the origins of the Bangla New Year. Some believe it began in Agrahayan, while others consider Baishakh as its foundation. Experts generally refer to four different interpretations.”

“A section of historians argues that the Bangla calendar was introduced during Akbar’s reign -- a view supported by Meghnad Saha, Kashi Prasad Jayaswal, and Amartya Sen. However, scholars like Ahmad Sharif disagree, stating that Akbar introduced the ‘Tarikh-e-Ilahi’, not the Bangla calendar, as also noted in Abul Fazl’s writings. Another opinion traces the origin to the Sultanate period under Husain Shah,” he added.

He further explained, “When Akbar ascended the throne in 1556, the Hijri year was 963. By adding 232 years, or calculating from that point, the structure of the current Bengali calendar can be understood. It was later the Nawabs of Murshidabad who institutionalised the calendar for administrative purposes, particularly for tax collection, in a system known as ‘Punyah’.”

Celebrations at the household level predate these administrative changes.

On the eve of the festival, women would soak rice with water and tender mango twigs; the next morning, rituals like ‘Amani’ were performed to ward off evil and welcome prosperity.

With the expansion of trade, the practice of Halkhata emerged, giving the festival a broader social dimension.

Folk performances such as Gambhira, Maljora, Kabigan, Palagan, and Chaitra songs once formed the heart of rural celebrations. In modern times, urban elements like the Mangal Shobhajatra and symbolic masks have been added, blending folk belief with civic expression.

Reflecting on this evolution, Aminur Rahman Sultan said, “Traditionally, rural households celebrated with simple food like soaked rice, green chillies, onions, and roasted peppers. The addition of hilsa is a more recent, urban development.”

“Folk culture, after all, is a living expression -- it evolves, adapts, and survives through transformation,” he added.

Beyond historical debates, the festival is deeply rooted in everyday life. As the last day of the year became a time to settle accounts, the first day emerged as a symbol of renewal.

Landowners hosted gatherings, and traders opened new account books in the Halkhata tradition -- a ritual reflecting trust, continuity, and fresh beginnings.

Across rural Bengal, the celebration flourished through community life. Homes were cleaned, new clothes were worn, and fairs brought together artisans and families.

Traditional games, music, and shared meals turned the day into a collective expression of joy.

During the Pakistan period, when cultural expression faced pressure, the festival gained deeper significance.

In 1967, the cultural organisation Chhayanaut began welcoming the New Year with music at Ramna Batamul -- an act that reaffirmed identity through art and tradition.

Following independence, the celebration expanded in scale and symbolism.

The introduction of the Mongol Shobhajatra (recently renamed the Baishakhi Shobhajatra) by the Faculty of Fine Arts at Dhaka University in 1989 gave the festival a powerful visual language of resistance, hope, and unity.

Today, Pahela Baishakh transcends divisions of class, religion, and geography. It is a day when differences fade, replaced by a shared sense of belonging.

As the first sun of the new year rises, it reminds a nation that renewal is always possible -- and that culture, when carried in the hearts of people, never fades.