Better to stay small than grow up—Mustafa Monwar lived with a childlike mind

Mustafa Monwar, a legendary fine artist, television director, and the undisputed pioneer of puppetry in Bangladesh, passed away at a hospital in Dhaka on Monday morning. He was 90. The revered cultural icon had been battling long-term health complications, including pneumonia and prostate cancer, and had been under intensive care since the middle of the month. His passing marks the end of an era for the nation’s cultural landscape.

News of his demise triggered an immediate outpouring of grief and tribute across social media and traditional broadcasting networks. Pundits, former colleagues, and generations of admirers recalled his multifaceted contributions to the nation. To some, he was the visionary creator behind the landmark television talent show Notun Kuri. To others, he was affectionately known as the “Puppet Man of Bangladesh” or the creative force who helped shape the universally beloved children’s character Meena.

A Childlike Wonder and Philosophical Outlook

Despite his vast array of institutional achievements, Monwar viewed his own identity through a remarkably simple lens. He spent his entire career striving to maintain a childlike innocence. He firmly believed that age was merely a statistical metric; true vitality was defined by one’s capacity for wonder, curiosity, and love for the world.

Reflecting on his philosophy during a birthday broadcast in 2019, Monwar observed that age operates on two separate levels—one mathematical and the other spiritual. He noted that when it came to appreciating and loving the world, time stood completely still. Discussing the concept of growing older, he remarked with a characteristic smile that whilst milestone birthdays felt exciting during childhood, he later realised that adulthood held little appeal, and it was far better to remain young at heart.

This ethos governed his creative output. He remained deeply optimistic about younger generations, stating that the dreams of the youth would ultimately sustain the nation and drive its cultural progression. His interests extended beyond the visual arts into music. He trained under Santosh Roy in Kolkata—a disciple of the legendary Ustad Faiyaz Khan—and performed with Nirmalendu Chowdhury’s troupe for three years. During the 1971 Liberation War, he travelled extensively with cultural squads organized by Waheedul Haq and Sanjida Khatun, using patriotic songs to lift spirits. He eventually stepped away from formal musical performance, citing a personal preference for fluid creativity over strict classical structures.

Language Activism, Television, and the Legacy of Meena

Monwar’s artistic calibre was recognized early on by international figures, including the legendary filmmaker Satyajit Ray, who praised his ability to convey profound depth using minimal lines in watercolours. Yet, Monwar remained characteristically modest about his work, quietly planning new watercolour exhibitions even in his final years. His dedication to Bengali identity began in his youth. As a schoolboy in 1952, he was imprisoned for a month after drawing satirical cartoons supporting the historic Language Movement.

He later resigned from a prestigious teaching position at the Government Art College to join the Dhaka station of Pakistan Television. He viewed television as an unparalleled medium to bring refined Bengali culture directly into local households. His subsequent work at Bangladesh Television (BTV) became legendary. His masterful adaptations of Rabindranath Tagore’s play Roktokorobi and Munier Choudhury’s Mukhra Romoni Boshikoron set enduring benchmarks for televised drama.

His most profound systemic impact, however, remains his revival of puppetry. Inspired by traditional puppet theatre he witnessed in West Bengal, he modernised the medium in Bangladesh. His original puppet character, Parul, caught the attention of UNICEF representative Rachel Carnegie. This fruitful collaboration ultimately laid the groundwork for the creation of Meena, the iconic educational cartoon programme that transformed the lives of millions of children across South Asia. Though the great master has departed, his final reflections endure: a true love for the world never ages, ensuring that his creative spirit remains perpetually youthful.