KOLKATA, December 24, 2025 - Indian Tabla player Mainak Biswas has shared a harrowing account of his recent experience in Dhaka, Bangladesh, where he and his photographer colleague, Kallab Ghosh, found themselves in a precarious situation following the cancellation of a concert scheduled for December 19. Biswas, who was to accompany Sarod player Shiraz Ali Khan, recounted the 48 hours of intense anxiety he faced before finally returning home on December 22.
Biswas, a frequent visitor to Bangladesh, expressed that he had always been met with warmth and hospitality in the past. However, this trip turned into what he describes as his "worst nightmare". The cancellation of the concert at Chhayanaut, a prominent cultural organization, due to rising anti-India sentiments, marked the beginning of a terrifying ordeal. The venue itself was attacked by protest mobs, intensifying the sense of unease and danger.
"I could never have imagined how difficult life could become as a Hindu trapped in Bangladesh when anti-Indian rhetoric was at its peak," Biswas said upon his return to Kolkata. He described the tension as suffocating, with every moment filled with anticipation of potential threats. Biswas recounted the constant fear of being targeted due to his easily identifiable Indian appearance.
The situation escalated after Shiraz Ali Khan, who had the advantage of a recognizable name and being able to speak the local dialect, managed to escape the turmoil and return to Kolkata. Biswas and Khan's mother were left stranded, heightening their vulnerability. Biswas made the difficult decision to switch off his phone and feign muteness, hoping to avoid unwanted attention. "They say those who can't speak have no enemies," he explained, highlighting his strategy to remain silent and unnoticed. His priority was also ensuring the safety of Khan's mother.
The unrest in Dhaka was fueled by political tensions stemming from events in July 2024 and the death of Inquilab Mancha leader Sharif Osman Hadi. Protests erupted, targeting not only cultural organizations like Chhayanaut but also media outlets and even the Assistant Indian High Commission. Biswas and Ghosh's experience underscores the palpable anti-India sentiments that gripped the region during this period.
Reflecting on the ordeal, Biswas hopes for a future where peaceful exchanges of art and culture can resume between the two nations once the situation normalizes. He acknowledges the experience as a constant reminder of vulnerability, having left an indelible mark. Despite the trauma, Biswas remains optimistic about the potential for future collaboration and understanding through the arts.
