Museums serve as reflective mirrors of society, functioning as ‘peoples university and centers for education and research. These institutions hold the essence of a nations identity, enabling them to trace their roots. Museums are, therefore, repository of a nations history, tradition, education, civilization and culture. As a hybrid museum, Bangladesh National Museum has four curatorial departments focused on preserving and representing Bangladeshs history, culture, and heritage. To that end, the respective departments consistently strive towards enriching its repository through the acquisition of rare antiquities, art pieces, ethnological specimens, relics related to Bangladeshs liberation struggle, flora and fauna specimens, traditional crafts, intellectual creations, audio-visual documentaries, and other objects related to the cultural and natural heritage of Bangladesh. Beyond highlighting Bangladeshs own historical heritage, the museum also collectively represents a broad spectrum of regional and global civilizations. 

Furthermore, the museum also actively undertakes educational initiatives through the Department of Public Education, thereby acting as a hub of knowledge. Bangladesh National Museum prioritizes the preservation of its collected artifacts, adhering to recognized conservation standards to create a secure and suitable environment. This commitment ensures the preservation of our history for the present and future generations. As an educational institution, the museum actively supports scholarly investigations and research endeavors, documenting, cataloging, and publishing works on artifacts within its collection. Additionally, the museum provides support for stimulating educational programs, fostering learning opportunities for visitors. It also encourages exploration and fieldwork, promoting further discovery and understanding of cultural and natural heritage. To facilitate these endeavors, the museum maintains a comprehensive library, archives, databases, and other research facilities, ensuring access to valuable resources for researchers and scholars.

The main objective of a museum is to provide education to the public through its exhibits (Cameron, 1968), but it involves various challenges and complexities (Jahangeer et al., 2021). Brown, (1987:9) classifies museums mode of education as “non-formal”, the artifacts they house, both shape and represent knowledge (Petrov, 2012). Candler, (1976) acknowledges the importance of a well-organized and responsible museum education department; for the broader public education (Akbar, 1994; Krapfel, 1998; Styliani et al., 2019) and for communication, interaction, and participation (Czachur et al., 2023). Bangladesh National Museums guide lecture service plays a significant role in disseminating the details of an artifact (Rabbi, 2023; Fairooz  et al., 2024). 

Although the origins of modern museums are attributed to the inauguration of British Museum in London in 1753 and the opening of the Louvres collections in Paris during the French Revolution in 1793, Mathur and Singh, (2015:4) assert that the development of museums in former colonies played out differently from those in European metropolises. While European museums were influenced by democratic and historical processes, colonial museums were shaped by colonial patronage and the acquisition of material objects for imperial knowledge projects (Mathur and Singh, 2015:4). As such, they were often seen as lesser counterparts to the exemplary European institutional paradigm, a sentiment that persists to the present day. In her case study of Lahore Museum, Bhatti, (2010:51) argues that the colonial Indias exhibition practices were primarily shaped by the colonizers perspectives and methods of represent-ation. As a result, visual displays were influenced by the pervasive goals and ambitions of the British during the nineteenth and twentieth centuries in India.

Bal, (2001:122) labels the museum setting as one designed with the expectation of a structured walking tour, dictating the sequence in which dioramas, exhibits, and panels are observed and read. According to Sturge, (2007:129), ethnographic museums serve as the ‘public face of academic anthropology, garnering greater public attention and interest in the process compared to its academic counterpart. In the context of Bangladesh, as Islam, (2017: 39-40) puts it, it is imperative for museums to curate and present facets of human life history, traditions, socio-cultural evolution, and various forms of cultural expressions such as folk traditions, folklore, folk art, music, handicrafts, and textile work. This process involves rigorous research, scholarly publication, and thoughtfully curated exhibitions. In that regard, Bangladesh National Museum employs a rigorous application of museological principles in the scientific presentation of folk artifacts, a practice of great significance to its visitors. This meticulous curation, as advocated by Ferdousi, (2013) facilitates a comprehensive understanding of our folk culture for museum patrons. Banu, (2005) in her work on Bangladesh National Museums collection of Filigree works, discusses how Dhaka had garnered reputation for its filigree craftsmanship during the seventeenth century. According to Banu, (2016) Bangladesh National Museum boasts the most extensive collection of woodwork artifacts, widely regarded as a representative showcase of the continents wood craftsmanship.

Dedicated museums for natural history were non-existent, instead, some of the earliest museums in India were established as multi-purpose museums through collaborations with scientific societies such as the Asiatic Society of Bengal. Therefore, these museums were hybrid in nature, their contents ranging from natural history specimens to economic products as well ancient artifacts (Nair, 2007). Bangladesh National Museum too, is one such heterogeneous museum. By mid-1997, over 750 museums of natural history had been established across the world (Fowler, 2003). One of the reasons behind the growth of natural history museums, according to Farrington, (1915) is plainly for appeals sake. Another reason is the successful generation of widespread public interest in natural history which resulted from blending art with exhibition as methods of preservation. Rogers, (2013) contends that using dioramas to display three-dimensional specimens of animals and plants from every corner of the world had a deeper sentimental impression on the museum visitors that served to remind them that a lot of it was in danger of being lost. As an important region of the subcontinent, Bengal is home to a vast repository of artifacts, antiquities and important archaeological sites. As the national museum of Bangladesh, Bangladesh National Museum houses an impressive collection of these artifacts in a bid to unearth and preserve the obscure chapters of our history. As Knell, (2007:8) points out, collections of physical objects face challenges over time due to limited resources and inadequate curation.  Asher, (1980) contends that Indian art is not a singular style, but rather a fusion of Western, Middle Eastern, and Far Eastern artistic influences. Zanker, (1988), in his assessment of Augustus Caesars political image, contends that visual imagery provides a window into the inner workings of a society. Therefore, Knell, (2007:8) find these materials (artifacts and art) valuable for historians because they allow them to reconstruct a more accurate understanding of the past, thereby creating historical knowledge. Zaman, (2023:9) categorizes the contemporary artworks acquired by Bangladesh National Museum as belong-ing to the “modern” period, encompassing works produced since the 1930s. Bangladeshi contemporary art culture is significantly defined by influential artists from the recent past, including figures such as Zainul Abedin, SM Sultan, Shahabuddin, Hashem Khan, and Novera Ahmed, among others (Zaman, 2023).

The study explores the Bangladesh National Museums role as an educational institution. This study adopts both quantitative and the qualitative research methods. The study is based on secondary data; books published by Bangladesh National Museum, official records of museum, museum visitors comment books, previous stakeholders opinions, and comment books from mobile exhibitions. Quantitative data were analyzed using the statistical software SPSS.

Data on visitors and revenue earnings spanning from 1993 to 2024 were analyzed, and found that the museum has witnessed a steady influx of visitors and revenues. 

Fig. 1: Number of people visited Bangladesh National Museum in different years (1993-2024).

In the year 1993, the number of visitors was more than 69 lakh, which decreased to 48 lakh in 1999. Again, the number of visitors sharply increased to 62 lakh in the next year, that is in the year 2000. The number of visitors was unprecedentedly high during the year 2017 (more than 77 lakh) and year 2018 (more than 76 lakh). But year 2021 recorded the lowest number of visitors (more than 1 lakh), this exception was due to coronavirus pandemic. After corona pandemic the visitor influx started to increase again, which increased to more than 43 lakhs in 2023.

Although there was decrease of visitors in late 90s but the revenue earning shows increasing trend due to the increase in price of entry ticket. The revenue income was unprecedentedly high during the years 2017-2019. In contrast, the year 2021 recorded the lowest revenue income, this happened due to the impact of coronavirus pandemic. From the year 2022, the revenue income started to increase and still it is increasing.

Fig. 2: Revenue income from ticket selling by the Bangladesh National Museum in different years (1993-2024).

The Education Section is responsible for providing guide lecturers for guided tours and facilitating the School Service Program. Pre-visit lectures are conducted by the education officers to familiarize visitors with the galleries before their exploration. The guide lecturers offer valuable insights and information about the displayed objects and artifacts during the gallery visits, making the experience highly beneficial, especially for students. The number of student visitors was unprecedentedly high during the year 2018. Due to corona pandemic, there was no student visitor during the years 2020 and 2021. 

The research findings suggest Bangladesh National Museums library, although highly enriched with 36,000 rare books and journals, is rarely utilized to its full potential. The primary objective of the library is to enhance and support the research activities related to the museums collections in order to make research an integral part of the museums activities and beyond, encouraging both the museums staff as well as aspiring researchers and scholars from outside to engage further with research work. The materials and literature of the library cover a diverse range of disciplines, namely prehistory, history, natural history, art, archaeology, anthropology, epigraphy, numis-matics, iconography, museology, conservation, archit-ecture, sculpture, pottery, woodwork, metalwork, painting, calligraphy, furniture, textile, costume, folklore, folk art, festival and similar subjects with deep-rooted cultural significance. Regrettably, complexities of using the library facility have deterred readers and researchers from expressing further interest in availing the facility. Highest number of library user was only 296 in the year 2000 and second highest user was 274 in the year 2013; which is less than 2% of the student visitors in those years.

Fig. 3: Number of students visited Bangladesh National Museum in different years (1995-2024).

The school programme of the museum serves as a vital catalyst in the spread of education, befitting the museums epithet ‘University of the People. The programme is greatly contributing to the spread of education by supplementing the childrens formal education. The museum administration has diligently collected valuable feedbacks and comments from the chief/teacher of the educational institutions in a form after their museum visits. The feedback and remarks received from educational institutions thus far have been overwhelmingly positive, reflecting the visitors satisfaction with the museums services. Content analysis of the comments reveals that 65% of the students are happy to visit museum, 10% of the teachers express their gratitude and satisfaction with the services and educational experiences offered by the museum. The museums guide lecturers have been praised by 10% of the teachers. 

Fig. 4: Number of readers who used the library of Bangladesh National Museum in different years (1998-2024).

To reach out to rural areas, Bangladesh National Museum arranges the Mobile Exhibition Service, showcasing selected objects and documentary films through a specially equipped bus. This initiative ensures that no one is deprived of the opportunity to engage with the museums vast knowledge base. Many people from the upazillas or semi urban areas, especially the students, had no prior idea of what a museum entails, now have access to precious knowledge preserved within it. 

Fig. 5: Comments of teachers after visiting Bangladesh National Museum with their students under school programme.

Visitors have praised the mobile exhibition for its educational and informative nature. The comments indicate that the visitors share the sentiment that the mobile exhibition has played a crucial role in spreading education, as 50% of the students said that mobile exhibition contributed to gather knowledge and another 37% students suggested for increasing number of objects in exhibition.

Fig. 6: Comments of students after visiting mobile exhibition museum.

On the other hand, teachers who visited mobile exhibition museum with their students, 23% of them commented that now their students know what museum is, 21% commented that students knew about history and culture of Bangladesh and 20% commented that mobile exhibition bus helped them for education. Apart from these, 22% of the teachers commented that villagers cordially received mobile exhibition bus and 14% of the teachers commented that now their students are interested to visit central museum (Bangladesh National Museum).

Fig. 7: Comments of students after visiting mobile exhibition museum.

Bangladesh National Museum regularly organizes training programs and certificate courses on art, history and museology. The museum also hold a Childrens Art Competition and a Handwriting Competition in Bangla annually, promoting artistic expression and language proficiency among young learners. Analysis of secondary data reveals that the number of participants in art, history and museology course gradually increasing.  Number of participants in the year 2022 was 25, which increased to 26 in the year 2023, increased to 29 in the year 2024 and increased to 30 in the year 2025.

Fig. 8: Number of participants in art, history and museology course arranged by Bangladesh National Museum.

The meetings, seminars, discussions, and workshops organized by the museum significantly contribute to societal development. Analysis of secondary data reveals that the number of discussion programs on famous persons is gradually increasing.  Number of discussion programs on famous person in the year 2021 was 10, which remained 10 in the year 2022, increased to 12 in the year 2023, increased to 18 in the year 2024 and increased to 20 in the year 2025.

Fig. 9: Number of Discussion programs on famous persons arranged by Bangladesh National Museum.

Bangladesh National Museum has an important role to fulfill in terms of fostering social changes and shaping societal contexts by providing insights into our past. In recognition of museums noteworthy contribution to the field of education, the organization has been conferred the prestigious ‘Ekushey Padak award. To reach out to rural areas, the public education section arranges the Mobile Exhibition Service, showcasing selected objects and documentary films through a specially equipped bus. The content analysis also reveals the outcome of the “School Service Programme”, which allows students to visit the museum as part of an excursion from their respective educational institutions. The museum regularly organizes training on museology, Childrens Art Competition and Handwriting Competition. The feedback from the institution representatives has been entirely positive, indicating their satisfaction with the service. 

All the authors contributed to conceptualize and design the study. S.S.K.: Contributed in data collection and analysis; M.A.U.: Contributed in report writing and preparing journal article from the research report.

The authors are grateful to the museum authority for providing relevant data.

The authors declare no conflict of interest.