The death of Mustafa Monwar has closed a remarkable chapter in Bangladesh’s cultural history. But for veteran television personality Nawazish Ali Khan, Monwar’s greatest legacy lives on in the memories of those who worked beside him. Speaking to Times of Bangladesh, Nawazish described the artist, television pioneer, educator and puppet master as “the kind of person who is born once in a century”, recalling a creative visionary whose work helped shape the country’s modern artistic and television identity.
Nawazish, who joined television in 1967, said he first heard Monwar’s name while working at Karachi Television. The station’s then general manager introduced him in unforgettable words: “Mustafa Monwar is the kind of person who is born once in a century.” Looking back after decades of working together, Nawazish said those words perfectly captured Monwar’s personality. He remembered him as remarkably energetic, endlessly optimistic and almost always smiling.
Recalling the early days of television, Nawazish said Monwar, Jamil Chowdhury and a handful of pioneers laid the foundations of television in what later became Bangladesh. Their contribution went far beyond producing programmes. They also developed Bangla television terminology, introducing words that remain in use today, including ghoshok (announcer), mohora kakkho (rehearsal room) and preron kakkho (transmission room).
He said Monwar constantly pushed the boundaries of visual storytelling despite severe technical limitations. As large studio sets were unavailable, he created three-dimensional charcoal backdrops on fabric that produced striking visual depth. The work even impressed officials at Karachi Television. Long before virtual production became common, Monwar experimented with background insertion and visual effects that anticipated many of today’s chroma key techniques.
Nawazish recalled that productions such as Raktakarabi and Mukhra Ramani Boshikaron remain outstanding examples of Monwar’s artistic ingenuity. While modern productions can now change backgrounds with a single click, Monwar created similar visual illusions through creativity and craftsmanship during the 1960s and 1980s.
He also highlighted Monwar’s immense contribution to children’s television. According to Nawazish, Monwar created both the name and logo of BTV’s iconic children’s talent show Notun Kuri, which introduced generations of young performers to national audiences. He also played a pioneering role in popularising puppet theatre in Bangladesh. His creative contribution helped shape the concept behind UNICEF’s beloved animated character Meena, which later became one of South Asia’s most influential educational programmes for children.
Nawazish also remembered Monwar as someone who encouraged creative risk-taking. During the production of Humayun Ahmed’s acclaimed television drama Bohubrihi, the bold decision to include a bird delivering the now-famous line, “Tui Razakar”, received Monwar’s full support. Nawazish said Monwar believed every producer needed a touch of madness and the courage to experiment because genuine creativity could never flourish without taking risks.
Reflecting on Monwar’s lifelong achievements, Nawazish said the gold medallist from the Government College of Art & Craft in Kolkata was never merely a television executive or an accomplished artist. He represented the finest ideals of Bengali art, culture and creative expression.
For Nawazish Ali Khan, Mustafa Monwar’s passing marks the end of a remarkable era. Yet he believes the vision, imagination and artistic philosophy Monwar left behind will continue to inspire generations of artists and storytellers for years to come.
