How can orchestral practices in Bangladesh be a metaphor and model for how communities might rehearse resilience together? Read to find out how orchestral rehearsals build collective focus and human connection for musicians working in Bangladesh’s demanding cultural environment.
This article is commissioned as part of culture360.ASEF.org’s Redefining ‘Well-being’ through Culture open call. Through a series of articles, video interviews and podcasts, we delve into the multidimensional contribution of culture towards good physical health, mental health, individual and societal well-being.
From Chaos to Listening
When I enter a rehearsal room as a conductor in Dhaka, the space is rarely quiet. Musicians tune their instruments, adjust music stands and practise difficult passages from the score. Each player repeats challenging phrases, trying to master them before rehearsal begins.
At first the room sounds chaotic. Different instruments move in different directions. Yet this chaos has purpose. Every musician concentrates on solving a musical problem.
Playing these passages can feel like sailing a small boat against wind and current. Every movement requires control. Every adjustment matters.
Gradually the room begins to settle. Musicians notice the conductor. Conversations fade. Chairs stop moving. Then a single violin searches for pitch. One by one the other instruments join. The rehearsal begins not with music, but with listening.
In that moment the atmosphere shifts. Individual preparation gives way to collective attention — the foundation of orchestral music. For many musicians, this shared focus creates a rare sense of calm and stability within the pressures of professional life.
A Context of Pressures and Realities
Bangladesh is one of the world’s most climate-vulnerable countries. Rapid urbanisation, environmental uncertainty and economic instability shape everyday life in cities such as Dhaka. These pressures also affect cultural workers.
Musicians often navigate irregular income, limited institutional support and unpredictable project funding. Cultural organiser Khalifa Sohel, who has organised concerts and productions in Dhaka, notes that financial uncertainty remains a persistent challenge.
“Many artists do not receive the value they expect for their work,” he explains. “Even when an event succeeds, payments can be delayed.”
Such conditions can create stress and professional burnout for artists. In this environment, rehearsal spaces can become important sites of grounding. Ensemble practice provides a structured environment where shared purpose and collective discipline help counterbalance external pressures.
Here, well-being is not simply individual self-care. It emerges from shared attention, cooperation and the experience of making music together.
Learning the Discipline of Ensemble
Orchestral rehearsal requires constant awareness. Musicians must listen carefully not only to the conductor but also to the subtle sounds of colleagues sitting nearby.
Jamal, a musician with the Bangladesh Navy Orchestra, describes ensemble playing as a shift in mindset. “You cannot think only about yourself,” he says. “You have to listen to everyone else.”
For Jamal, this discipline also creates structure in daily life.
“Regular rehearsals help you build discipline. That discipline improves both your music and your life.”
His colleague Akhi emphasises the difference between practising alone and rehearsing with others. “Practising alone can sometimes feel mechanical,” she says. “But when you rehearse together, the music becomes alive.”
Through repetition and shared effort, musicians gradually build trust, timing and a shared musical language. This process fosters a sense of belonging and emotional balance within the ensemble.
1. Musicians rehearsing together in a studio environment, demonstrating collaborative listening and ensemble coordination. Photo © Abir Borua.
Beyond the Digital Screen
Orchestral rehearsal also offers something increasingly rare: sustained human interaction.
Today many conversations take place through screens. Communication happens through text messages, social media and online platforms.
In an orchestra, however, communication happens through sound, gesture and attention. A conductor’s movement, a colleague’s breathing or a small change in tempo can shape the entire ensemble.
Jamal notes that this type of interaction feels very different from digital communication.
“When we play together, we communicate directly,” he says. “We listen and respond to each other immediately.”
This shared presence creates a form of connection that digital tools cannot easily reproduce.
A Global Perspective
The collaborative nature of orchestral music can be seen in ensembles around the world.
Swedish violinist Eva Lindal, who performed for many years with ensembles including the Swedish Radio Orchestra, emphasises the responsibility musicians carry toward one another. “You are responsible for your own playing,” she says, “but you must also stay devoted to the other musicians so the music can function together.”
Touring and performing together often deepen these connections. “Playing concerts every evening with the same programme creates strong synchronisation between musicians,” she recalls.
Even in a digital age, Lindal believes the human dimension of ensemble playing remains essential.
“Playing together is like a deep conversation.”
Her reflections highlight how collective music-making can nurture well-being across very different cultural contexts.
2. Musicians preparing for a live performance, where collective rehearsal practice transforms into shared musical expression on stage. Photo © Sajid Al Saif.
Building Ensemble Culture in Bangladesh
Bangladesh does not yet have a centuries-old orchestral tradition like many European countries. However, interest in ensemble-based music has grown steadily over the past two decades.
Institutions such as the Bangladesh Navy Orchestra, university programmes and independent initiatives have begun introducing orchestral rehearsal practices to younger musicians.
In a musical culture historically centred on solo performance and small ensembles, orchestral practice introduces a different model of collaboration.
Orchestras bring together musicians who share a mindset of attentive listening and coordination. Within Bangladesh’s evolving musical community, this collective practice helps build a sense of communality and strengthens relationships among performers.
Across rehearsal rooms in the country, orchestras are gradually shaping a new culture of cooperation.
Rehearsing Resilience
For musicians navigating professional uncertainty, rehearsal becomes more than preparation for performance.
It becomes a shared practice of attention, cooperation and trust. The process often begins with scattered sounds. Gradually the room becomes quiet. A violin searches for pitch.
From that moment of listening, music begins. In this sense, the orchestra does not only produce music. It rehearses resilience — note by note, together.
Cover image: Bangladesh Navy Orchestra during a rehearsal session in Dhaka, where musicians connect through attentive listening and discipline. Photo © Sahin Ahmed.
About the Author
Shariful Islam is a Bangladeshi violinist, composer and music educator serving as Expert Music Instructor with the Bangladesh Navy. With more than ten years of experience in orchestral performance and education, his work explores collective music-making, artistic resilience and collaborative listening. He has contributed to orchestral initiatives in Bangladesh and is developing the Dhaka Philharmonic Project, which explores new models for professional ensemble culture in the country.
