Since the beginning of the quota reform movement, students have taken up a new way of communication that speaks louder than words, and it echoes within the heart of the nation. The walls across the country are now coloured with murals and graffiti depicting a generation’s tale of wanting to create their own destiny.
These artistic expressions have become another means for students to continue fighting against injustices by turning public spaces into a platform of dialogue, resistance, and hope.
Especially since the newfound freedom of expression gained through the fall of the Awami League government students have taken it upon themselves to adorn the walls of the streets with colours and words to express themselves.
Art has been throughout history, a tool of social movements—first as a mirror reflecting the evils of society, second as a spark to set things right. From the protest murals in South America to the graffiti that became synonymous with the fall of the Berlin Wall, history is full of examples of how art can spire and mobilise. The quota reform movement was a recent chapter in this legacy of political activism, and now, through graffiti, students and ethnic communities alike are portraying their struggles.
Graffiti as a means of communication: A silent dialogue with society
Graffiti is able to transcend conventional barriers of communication. In a society where freedom of speech is often throttled at its very roots, students and people of ethnicity have embraced this medium to get past the constriction of mainstream discourse. Every mural and slogan is a message to the public, the government, and the global community alike. It is a dialogue in silence that speaks volumes.
The artworks speak to social issues that have otherwise gone unresolved, such as corruption, inequality, and the need for revolutionary systemic change. It uses metaphors and symbols that beg for a deeper understanding of what is being shown. For example, a bird could represent freedom from structures of oppression, and a broken chain could represent the collective force required in achieving change.
“Ekhon dorkar jonogoner shorkar” (Now we need a people’s government),” Amader notun secular Bangladesh” (Our new secular Bangladesh), and “36th July” are some of the slogans sprawled across the wall, speaking with the spirit of resistance. Within each slogan lay the hopes and demands of a generation that fought for change and is determined to see it through.
Slogans like “Bikolpo ke? Ami, tumi, amra” (Who is the alternative? Me, you, us) and “For Every Firaun, Musa Will Be Born” add a deeper layer to the conversation, reminding viewers of the eternal struggle between tyranny and justice.
“We wanted to leave behind something, something that would remind everyone of what we fought for” said Imtiaz, a fourth-year student of Bangladesh University of Professionals. “These walls tell our story better than any other textbook ever could”.
Atiq, a third-year student of Dhaka University, stated that “These graffiti and murals are of great initiative and eye pleasing to watch. Some of the quotes are inspiring and motivational. The next generation will be able to know what actually happened in the country to earn the second independence”.
Another student, Nishat, currently studying at the Bangladesh University of Professionals, remarked, “This art is our voice. When they tried to silence us, we painted our words on these walls for everyone to see”.
The artistic expression of the ethnic community: Voices from the margins
The voice of colours has also been adopted as a powerful means of communication by the ethnic communities of Bangladesh. The communities, that have been repressed and subdued for a very long time, found graffiti as a medium to express their struggles and raise awareness about their particular issues. Scenes of ethnic lifestyle, murals of symbols representing cultural identity and powerful slogans on land rights and how autonomy began appearing in areas with high ethnic populations.
One of the most striking artworks, with the statement “I am not Bangali, I am Bangladeshi”, featuring people of ethnicity, strongly asserts the distinct identity of ethnic people, emphasising their place in the nation without losing their unique cultural heritage. This message serves as a declaration of pride and resistance against the marginalisation and assimilation of ethnic communities.
Other slogans like “Pahar kono desher baire noy, boishommohin pahar chai” (The hills are not outside the country, we demand equality in the hills), “Kolpona Chakma kothay?” (Where is Kalpana Chakma?), and “Upojati bolar age adibasbir itihash janun” (Know the history of ethnic people before calling them ‘tribal’) further emphasize the unique struggles of these communities, the injustice made to them and their fight for recognition and equality.
“Graffiti is a way for us to tell our own story,” said Moung, an indigenous activist and student. “We are not just fighting for our rights, we are fighting for our identity.”
This sentiment is echoed in another mural that states, “shadhinota amader o prappo” (Freedom is our right too), a rebellious reminder that the fight for independence and rights extends beyond the majority community.
The walls shall speak
The graffiti and murals now adorning the walls of Bangladesh’s campuses and areas are more than art; they are legacies for times to come. This movement showed that the public spaces might turn into a medium for expressing one’s views, providing a platform to protest, and showcasing culture. Other movements will find their way, and they will look back on these country walls, continuing the legacy of art as a weapon toward justice.
These very walls, in a country where the right to speak out is often contested, now speak for them. The graffiti and murals, much beyond mere art forms, done subsequently by the students and ethnic communities, became much more than artistic expressions; they have been acts of resistance, tools for communication, and symbols of hope. These walls shall stand against time as a living, breathing narrative of a generation daring enough to demand change, to make sure that the reason is heard for eternity.