Abstract
The year 2020-21(from March 17, 2020, to March 26 2021) marked the birth centenary of Sheikh Mujibur Rahman, the founding leader of Bangladesh and its first Prime Minister. It was declared as Mujib Borsho or the 'Year of Mujib' at a grand opening ceremony as the countdown was kickstarted by Prime Minister and the elder daughter of Mujibur Rahman, Sheikh Haseena at the historic Parade Square where he had landed in the newly liberated Bangladesh on January 10, 1972, from Pakistan. In the speech delivered by her at this inaugural event, she talked at length about the collective past, present and future of Bangladesh and how its story was inextricably linked to the life and works of the founder of the nation. And while much of the address focused on the significance of celebrating the extraordinary life of Sheikh Mujibur Rahman, it was also steeped in an aura of lament for the fact that he was so brutally lost to the nation only four years after its liberation and what that loss has meant to its sense of self. And so, the idea of mourning is inherent and inbuilt into the idea of celebrating the 'year of Mujib'. Similarly, and relatedly, the running thread through much of the cultural memory of the Bangladeshi nation is the simultaneous celebration of its Liberation War, the secular ideals which informed it and the courage and resilience of the Bengali people who fought it as well as a deep sense of mourning for the violence and death that marked the birth of Bangladesh and in fact continued with the assassination of Sheikh Mujibur Rahman. The common approach to conceptualising trauma in historical interpretations of the past is to perceive it as a 'broken time' that needs to be accounted for so as to be able to learn and move forward from. This is especially the case with historical scholarship on the Holocaust that sees it as a break of civilization. On the other hand, the cultural memories of post-colonial nations such as India etch out a narrative of triumph and celebration of the struggle that led up to it. However, in Bangladesh the idea of mourning, pain and loss is central to remembering and commemorating its birth to the extent that the collective trauma of the war and its aftermath is a living, breathing entity that runs through much of the memorial landscape of the nation. Hence rather than embodying a so- called civilizational break in the onward march of history, trauma and the act of mourning this trauma is something that confers meaning to the narrative of the Bangladeshi nation and its sense of self. This paper looks at the ways in and the extent to which this sense of continuing collective trauma and mourning is deployed in curating the national cultural memory of Bangladesh and the responses it evokes in those who navigate it. This shall be done firstly by analysing the narrative choices adopted by four of the most prominent museums in the capital city of Dhaka - the National Museum of Bangladesh, the Museum of Independence and the Liberation War Museum - for constructing, showcasing and memorialising the nation's history. Secondly, the paper examines the nature of public engagement with this consciously curated cultural memory at these four museums and also across other popular sites of memory associated with the Liberation War in the city.