On International Women’s Day, Times of Bangladesh sits down with celebrated classical dancer Arthy Ahmed, who recently received the prestigious Ekushey Padak, one of the country’s highest civilian honours. In this interview, she reflects on women, her country, and the transformative power of her art.
TIMES: Congratulations on winning the Ekushey Padak. What does this honour mean to you personally?
Arthy Ahmed: Thank you. But I truly believe this recognition goes beyond me. It belongs to everyone who has walked this journey with me, especially my mentor, Lubna Marium. I have dedicated my Ekushey Padak to her.
In a society where women’s voices are sometimes suppressed, how do you see dance as a tool for empowerment and silent, powerful expression?
Arthy Ahmed: I began dancing when I was just three years old. At that age, I did not understand the philosophy behind classical dance; it was simply joy. But as I grew older, I began to grasp its depth and power. Dance is not merely performance or entertainment; it is a force. It can express what words often fail to convey.
We once staged an exhibition in London titled “Sahasa”, focusing on the struggles of immigrant women from third-world countries like ours. In our country, families often marry their daughters off to men living abroad without truly knowing their character or circumstances.
The idea of ‘living abroad’ alone seems lucrative enough for them to marry their daughters off to these people. But many of these women suffer immensely. Some are overworked, some abused, some trafficked or forced into prostitution. In a foreign land, they have nowhere to turn. Even the citizens of those nations can be indifferent, viewing them as burdens.
Through that performance, we wanted to confront our audiences with this reality. By the end of the show, many were left in tears. That is when I felt, more than ever, that dance is indeed a very powerful form of protest, empowerment and expression.
On International Women’s Day, we celebrate the strength and grace of women. If you could dedicate your next performance to the women of Bangladesh, what emotion or message would you want that dance to convey?
Bangladesh is a land deeply rooted in art, music and rhythm. It is imbued in our souls; it runs in our bloodstreams. If you look at construction sites, you will see women breaking bricks in rhythmic motion. There is music even there. The act of breaking bricks itself is a dance.
Farmers work in rhythm with their hum. Our rural women shaped traditions like Jatra Pala and folk dance. Grace and strength coexist in them so naturally. If I dedicate a performance to the women of Bangladesh, it would be to celebrate this resilience.
What is the most important lesson that a life in dance has taught you about discipline, self-worth, and the strength of the female body and spirit?
I now run a dance academy where I teach classical dance, and many of my students are adults. These are people who never had the opportunity to learn when they were younger.
Many once dreamed of becoming dancers but never got the chance. Now, learning dance is their way of reclaiming that dream. Life is short. One should not carry unfulfilled dreams as regrets.
Many of my students, especially women, struggle at first with confidence, body image and self-doubt. But gradually, they discover their own strength.
They learn the rhythm of their bodies. They develop confidence in their art, in their bodies. They begin to see beauty in movement and power in posture, and that is the true strength of classical dance. It builds discipline, self-worth and above all, it builds belief.
What advice would you give to a young girl from Bangladesh who dreams of a career in dance but might face societal or familial pressure?
I tell my students this all the time: You can do it; your art will build bridges for you. Today, with the internet, the world is much bigger. Dance is no longer confined to exhibitions and academies.
When you dance, you are dancing before the world. You can learn from home, perform from home and share your dance with the whole world.
But, at the same time, the whole world is your competition now. So, you must prepare that way as well. And if you want to have a career in the field, in this modern world, you also must learn how to do your own marketing, find your own sponsors and make the right connections. Once you do, trust me, nothing can stop you.
Looking ahead, what is the one message or feeling you hope audiences, especially young women, take away when they watch you perform?
It is never too late to fulfil your dreams. That is what I tell my students all the time. We have only one life. We should not leave it with regrets.
