Editorial

Dear Readers,

Assalamu Alaikum. We hope the issue will find you in good health with little feeling, which was accumulated and remained pent-up for years under the regime of the fascist government. To get rid of the regime, the walls of Dhaka became the canvas for a revolution. Overnight the dead walls became alive, and the graffiti was sprayed over them, as it is not just an art form; it is a revolutionary force that speaks the language of change. Following the ouster of Sheikh Hasina’s autocratic regime, graffiti has emerged as the symbolic voice of the student-led movement. The curfews, the clashes, and the breakdown of law and order that once gripped the city have now given way to vibrant expressions of protest and remembrance. In neighbourhoods like Dhanmondi and on the walls of Dhaka University, powerful slogans and images of martyrs mark the beginning of a new era. The spontaneous eruption of graffiti is unprecedented, much like the revolution itself. Students, who led the protest, funded their own materials to spray defiant messages across metro rail pillars and school walls. The art is more than protest; it reflects dreams for a new Bangladesh—one where corruption, dictatorship, and inequality are extinguished. The slogans call for unity and justice, echoing the widespread discontent with Hasina’s oppressive regime.

One striking feature of this movement is its grassroots nature. From public to private universities, from working-class neighbourhoods to elite colleges, the graffiti has spread across every sector of society. As the dust settles on this historic movement, the graffiti remains as a constant reminder of the sacrifices made and the hope for a democratic, equal Bangladesh. The walls that talk will not be silenced anytime soon. Instead, they will continue to inspire, provoke, and commemorate a movement that changed the course of a nation.

We hope you will like the cover story and return to you with different issues next month.