Saving Nazrul's creation from distortion
Salauddin Ahmed
Nazrul Islam, despite being the country's National Poet has had his work distorted perhaps more than any other of his peers. After Nazrul was incapacitated by neurological illness in 1942, his songs were adapted for commercial purposes by a small group of people with little understanding of Nazrul's work. The end result was that many of Nazrul's original works were nearly lost in the maze of adaptations through the years. Nazrul's legendary popularity, his immense stock of songs and the lack of copyrights were certainly at the core of the problem.
By 1968-69 there was an initiative in Bangladesh for authenticating Nazrul sangeet notations by the NazrulAcademy. Later on, in 1985, government-run Nazrul Institute took consolidated efforts to preserve the works through authentic notations. The preservation process started from archives of original gramophone records made before the poet fell ill. There was a minimum of 1500 discs containing songs ranging from classical to folk, ghazal to modern, but mostly in dilapidated conditions. "The concept of following the swaralipi or notations in Nazrul songs is relatively new," says Salauddin Ahmed. "The students need to listen to quality performances. One has to have technical know-how to carry on the task of re-composing the swaralipi," he says. "There is a misconception that to be a good tutor, one need not be a good vocalist. The idea is not totally true, The students need to listen to quality performances and develop a taste for good music through the tutor, he says. "Ironically, Nazrul was in fact very liberal with songs. He allowed the stalwart artistes to make variations in style. But it was never meant to be exploited and distorted according to the whims of a few people, especially at a time when the poet was incapacitated to intervene. "Previously the songs had to be rendered for gramophone records in a time span of 3 minutes 11 seconds. So there are several instances when many songs had to be finished midway. The recording companies did not want to bear the expense of re-recording. Therefore, in many instances it would be the unedited versions that were often released. So following the original records could result in the distorted version being accepted as the original," says Salauddin.
Salauddin points to a number of initiatives to tackle this issue. Leading performers who have a good understanding of Nazrul's music can be more involved with the notation restoration process. At present there is a dearth of authentic trainers across the country. Government institutions such as Nazrul Institute, ShilpakalaAcademy and other renowned private institutions certainly have a critical role to play. The media's role can be central to the whole process, he says. Re-recording of the original songs by talented singers has become a necessity. The role of sponsors is also vital. There are instances where the multinationals sponsor musical ventures. It would be a welcome change if such instances were implemented for preserving Nazrul's work, especially since he is the country's National Poet.
(Salauddin Ahmed was trained in India in classical music by Ustad Mashkur Ali Khan and in Nazrul songs by Pandit Shukumar Mitra . He is a regular performer on TV and radio. Besides being a trainer at NazrulAcademy, BAFA and Ansar VDP Cultural Team, Salauddin is currently engaged in restoring the notations of Nazrul songs.)
Curtesy: The Daily Star, May 25, 2005
Nazrul Islam, despite being the country's National Poet has had his work distorted perhaps more than any other of his peers. After Nazrul was incapacitated by neurological illness in 1942, his songs were adapted for commercial purposes by a small group of people with little understanding of Nazrul's work. The end result was that many of Nazrul's original works were nearly lost in the maze of adaptations through the years. Nazrul's legendary popularity, his immense stock of songs and the lack of copyrights were certainly at the core of the problem.
By 1968-69 there was an initiative in Bangladesh for authenticating Nazrul sangeet notations by the NazrulAcademy. Later on, in 1985, government-run Nazrul Institute took consolidated efforts to preserve the works through authentic notations. The preservation process started from archives of original gramophone records made before the poet fell ill. There was a minimum of 1500 discs containing songs ranging from classical to folk, ghazal to modern, but mostly in dilapidated conditions. "The concept of following the swaralipi or notations in Nazrul songs is relatively new," says Salauddin Ahmed. "The students need to listen to quality performances. One has to have technical know-how to carry on the task of re-composing the swaralipi," he says. "There is a misconception that to be a good tutor, one need not be a good vocalist. The idea is not totally true, The students need to listen to quality performances and develop a taste for good music through the tutor, he says. "Ironically, Nazrul was in fact very liberal with songs. He allowed the stalwart artistes to make variations in style. But it was never meant to be exploited and distorted according to the whims of a few people, especially at a time when the poet was incapacitated to intervene. "Previously the songs had to be rendered for gramophone records in a time span of 3 minutes 11 seconds. So there are several instances when many songs had to be finished midway. The recording companies did not want to bear the expense of re-recording. Therefore, in many instances it would be the unedited versions that were often released. So following the original records could result in the distorted version being accepted as the original," says Salauddin.
Salauddin points to a number of initiatives to tackle this issue. Leading performers who have a good understanding of Nazrul's music can be more involved with the notation restoration process. At present there is a dearth of authentic trainers across the country. Government institutions such as Nazrul Institute, ShilpakalaAcademy and other renowned private institutions certainly have a critical role to play. The media's role can be central to the whole process, he says. Re-recording of the original songs by talented singers has become a necessity. The role of sponsors is also vital. There are instances where the multinationals sponsor musical ventures. It would be a welcome change if such instances were implemented for preserving Nazrul's work, especially since he is the country's National Poet.
(Salauddin Ahmed was trained in India in classical music by Ustad Mashkur Ali Khan and in Nazrul songs by Pandit Shukumar Mitra . He is a regular performer on TV and radio. Besides being a trainer at NazrulAcademy, BAFA and Ansar VDP Cultural Team, Salauddin is currently engaged in restoring the notations of Nazrul songs.)
Curtesy: The Daily Star, May 25, 2005
Salauddin Ahmed
Salauddin Ahmed was trained in India in classical music by Ustad Mashkur Ali Khan and in Nazrul songs by Pandit Shukumar Mitra . He is a regular performer on TV and radio. Besides being a trainer at NazrulAcademy, BAFA and Ansar VDP Cultural Team, Salauddin is currently engaged in restoring the notations of Nazrul songs.
How to generate interest in Nazrul's songs among the newcomers?
Ferdous Ara
The responsibility of generating interest in Nazrul sangeet among the upcoming artistes lies with us, the singers, who are devoted into this genre," says Ferdous Ara. A popular Nazrul artiste, she continues, "The mastery in music developed gradually with the help of the gurus, which is termed as guru shishya parampara: it's like a relay race and now the baton is in our hands. Now it is up to us to become united and to assist and encourage the young generation to gain expertise in Nazrul sangeet."
To Ferdous Ara, Nazrul comes with his versatility, however, as she says "The sad part is that we have never realised the spirit of Nazrul. That's why we have failed to project this legend amongst the young generation properly. The steps should be taken personally as well as collectively. It should begin at the family level."
The negligence of the government and private initiators to patronise Nazrul disturbs Ferdous Ara. "We need a wide publicity for promoting Nazrul and for this the government should come forward as they have the advantage of reaching the masses," she asserts. The initiative should be taken from the grassroots level. For instance, the ethos, the versatility and the spirit of Nazrul should be projected through the school syllabuses and in the performing arts in schools. "Not only that, Nazrul artistes should be included as representatives in the state programmes and official cultural tours. This can also attract the young artistes," she believes.
She asserts that lack of sponsors and the attention of the recording companies, is another reason for the young generation drifting away from such music. Culture is an ongoing process that attracts newer ideas. Ferdous Ara strongly recommends, "We need to keep pace with time. We should welcome the modern musical instruments in Nazrul songs to make it widely acceptable. In fact, Nazrul's songs have such wide variations that it can easily adapt to the changes. Even the scope for fusion is there if done with care." She adds that as it is the era of visual entertainment, so using of VCDs of Nazrul songs and even using Nazrul's medley of songs in cinema, TV and stage plays can draw attention among the new generation. "Today, Nazrul's legacy continues to energise the Bangalees. His poems and songs are part of the rites of passage for each generation of Bangalees. Yet there is a recklessness about him, both in life and in songs, that never fail to attract the imagination that is the eternal hallmark of youth," concludes Ferdous Ara.
Curtesy: The Daily Star, May 25, 2005
The responsibility of generating interest in Nazrul sangeet among the upcoming artistes lies with us, the singers, who are devoted into this genre," says Ferdous Ara. A popular Nazrul artiste, she continues, "The mastery in music developed gradually with the help of the gurus, which is termed as guru shishya parampara: it's like a relay race and now the baton is in our hands. Now it is up to us to become united and to assist and encourage the young generation to gain expertise in Nazrul sangeet."
To Ferdous Ara, Nazrul comes with his versatility, however, as she says "The sad part is that we have never realised the spirit of Nazrul. That's why we have failed to project this legend amongst the young generation properly. The steps should be taken personally as well as collectively. It should begin at the family level."
The negligence of the government and private initiators to patronise Nazrul disturbs Ferdous Ara. "We need a wide publicity for promoting Nazrul and for this the government should come forward as they have the advantage of reaching the masses," she asserts. The initiative should be taken from the grassroots level. For instance, the ethos, the versatility and the spirit of Nazrul should be projected through the school syllabuses and in the performing arts in schools. "Not only that, Nazrul artistes should be included as representatives in the state programmes and official cultural tours. This can also attract the young artistes," she believes.
She asserts that lack of sponsors and the attention of the recording companies, is another reason for the young generation drifting away from such music. Culture is an ongoing process that attracts newer ideas. Ferdous Ara strongly recommends, "We need to keep pace with time. We should welcome the modern musical instruments in Nazrul songs to make it widely acceptable. In fact, Nazrul's songs have such wide variations that it can easily adapt to the changes. Even the scope for fusion is there if done with care." She adds that as it is the era of visual entertainment, so using of VCDs of Nazrul songs and even using Nazrul's medley of songs in cinema, TV and stage plays can draw attention among the new generation. "Today, Nazrul's legacy continues to energise the Bangalees. His poems and songs are part of the rites of passage for each generation of Bangalees. Yet there is a recklessness about him, both in life and in songs, that never fail to attract the imagination that is the eternal hallmark of youth," concludes Ferdous Ara.
Curtesy: The Daily Star, May 25, 2005
Ferdous Ara
Ferdous Ara's breakthrough performance as a Nazrul singer was through the song "Patho hara pakhi". She has two publications on Nazrul titled Sangeet Bhubaney Nazrul and Sanchitar Katha Barta. She also conducts TV programmes on Nazrul such as Sanchita on Channel i and Ei Shomoy on ntv. She also runs a music school named Sursaptak. She has launched a VCD on Nazrul songs titled "Shaono Ratey" and also sang for a movie "Meher Nigar" by Impress Telefilm
Incorporating Nazrul effectively in the institutio
Shumon Chowdhury
Before discussing how to incorporate Nazrul more effectively in our institutions, we have to overcome the obstacles in practicing Nazrul's songs accurately.We have to keep in mind that unlike his prominent contemporaries, Nazrul's creations were not consistent. For his valiant stance and outspoken defiance against the British 'Raj', his songs and poems could not be circulated widely. Quite a few of his works were even banned. The Rebel Poet's creative flow was hindered socially and politically. Socially, since his secular ways infuriated both the fundamentalist Hindus and Muslims. His Shyama-sangeets were no less heartfelt than his Hamd and Naats but this unheard of talent was harshly castigated and shunned by many, when he should have been revered.
Nazrul was never financially solvent. The tragic fact is that Nazrul had to sell the rights to myriad songs for a meager remuneration. For lack of proper concern, some of his songs were lost. Thus in his lifetime, quite often some of his songs were altered or rendered using wrong notes.
Nazrul lost his speech and memory at the age of 42 due to a long neurological ailment. Hence, it became even harder to properly regulate his works.
Lastly, Nazrul was a true bohemian by nature. So, all these factors resulted in an inconsistent collection of works, some of which were distorted, making for uncertain quality. The original records of Nazrul songs that the institutions follow, often contain inaccurate renditions of the songs. At times, the songs are also difficult to comprehend, as the intonation of the artistes from that era is somewhat unfamiliar. So, the students have a hard time learning Nazrul songs accurately. We have to research on Nazrul songs thoroughly and make efforts to resolve this issue.
It's not true that we don't have youngsters who show interest in Nazrul songs but they have to be encouraged as well. Quite often, we, the seniors don't treat our juniors condescendingly.
There is this trend of practicing Nazrul songs in contrasted fashions in different institutions. We have to put a stop to this phenomenon. We must make it a point to unify all the institutions to follow a proper method of practicing and rendering Nazrul songs. Nazrul songs are colourful and to manifest this trait of his songs, an aspiring artiste has to learn different techniques and styles. To be able to do that, a student should be trained under not just one veteran teacher but a number of skilled gurus. Accomplished Nazrul song teachers are not evenly distributed among the several institutions either. We have to work on this.
Most importantly, we need adequate Government backup. There was a time when classical music was not popular in our neighbouring country. However the radio used to play classical music often, creating a strong base and aficionados of classical music there. Perhaps, we can apply some similar method to popularise Nazrul songs. Funds for the institutions have to be well monitored as well.
Curtesy: The Daily Star, May 25, 2005
Before discussing how to incorporate Nazrul more effectively in our institutions, we have to overcome the obstacles in practicing Nazrul's songs accurately.We have to keep in mind that unlike his prominent contemporaries, Nazrul's creations were not consistent. For his valiant stance and outspoken defiance against the British 'Raj', his songs and poems could not be circulated widely. Quite a few of his works were even banned. The Rebel Poet's creative flow was hindered socially and politically. Socially, since his secular ways infuriated both the fundamentalist Hindus and Muslims. His Shyama-sangeets were no less heartfelt than his Hamd and Naats but this unheard of talent was harshly castigated and shunned by many, when he should have been revered.
Nazrul was never financially solvent. The tragic fact is that Nazrul had to sell the rights to myriad songs for a meager remuneration. For lack of proper concern, some of his songs were lost. Thus in his lifetime, quite often some of his songs were altered or rendered using wrong notes.
Nazrul lost his speech and memory at the age of 42 due to a long neurological ailment. Hence, it became even harder to properly regulate his works.
Lastly, Nazrul was a true bohemian by nature. So, all these factors resulted in an inconsistent collection of works, some of which were distorted, making for uncertain quality. The original records of Nazrul songs that the institutions follow, often contain inaccurate renditions of the songs. At times, the songs are also difficult to comprehend, as the intonation of the artistes from that era is somewhat unfamiliar. So, the students have a hard time learning Nazrul songs accurately. We have to research on Nazrul songs thoroughly and make efforts to resolve this issue.
It's not true that we don't have youngsters who show interest in Nazrul songs but they have to be encouraged as well. Quite often, we, the seniors don't treat our juniors condescendingly.
There is this trend of practicing Nazrul songs in contrasted fashions in different institutions. We have to put a stop to this phenomenon. We must make it a point to unify all the institutions to follow a proper method of practicing and rendering Nazrul songs. Nazrul songs are colourful and to manifest this trait of his songs, an aspiring artiste has to learn different techniques and styles. To be able to do that, a student should be trained under not just one veteran teacher but a number of skilled gurus. Accomplished Nazrul song teachers are not evenly distributed among the several institutions either. We have to work on this.
Most importantly, we need adequate Government backup. There was a time when classical music was not popular in our neighbouring country. However the radio used to play classical music often, creating a strong base and aficionados of classical music there. Perhaps, we can apply some similar method to popularise Nazrul songs. Funds for the institutions have to be well monitored as well.
Curtesy: The Daily Star, May 25, 2005
Shumon Chowdhury
Shumon Chowdhury started his music lessons in 1972. His mentors in classical music were Sheikh Jamiruddin, Ustad Phool Mohammad, Ahsan Murshed, Narayan Chandra Basak, Mithun Dey. He started learning Nazrul songs from Sohrab Hossain, Anjali Roy and Sudhin Das. He aspires to have extensive lessons on classical music from the renowned classical music exponent Ustad Mashkur Ali Khan. He started his career as a trainer and music teacher from 1980. He plans to teach higher level courses on Nazrul songs and Khayal
Current popularity level of Nazrul Sangeet
Nashid Kamal
Discussing the popularity of Nazrul sangeet, well-known singer Nashid Kamal said that in Bangladesh both BTV and private channels like Channel I and ATN are making efforts to popularise this genre. "In West Bengal, on the other hand, channels like Tara have no separate slots for Nazrul sangeet. Today, when there are public performances on stage and TV, there is a fairly good demand for Nazrul sangeet, especially as an accompaniment for dances. However, when we look for new CDs and cassettes we find that these are rare. Only solvent or popular artistes get a chance to do commercial recordings. Due to lack of initiative and constant changes of authorities the Nazrul Institute has failed to make more CDs," said Nashid. The Nazrul Institute, however, Nashid said, has been active in producing correct notations, which will be useful for future generations. Dwelling on this theme, she said that only a few Nazrul sangeet artistes get to go overseas in foreign delegations. She was emphatic that was a need to create more demand for this genre of music among expatriates and music enthusiasts overseas. She pointed out that Nazrul should not be remembered only on his birth and death anniversaries. The ShilpakalaAcademy, NazrulAcademy and the Nazrul Institute should have monthly programmes, with slots for different artistes, to this end, she insisted. She continued, "To encourage artistes, the institutions should help with correct tunes and training. They should also be told how to get on with the media in order to record their CDs and cassettes, as the new generation is much more interested in band music."
In addition to the above, she said that that we need to send eminent Nazrul sangeet exponents to India through cultural programmes, in order to create an interest in this genre in India. She insisted that the same should be done for USA, UK and the Middle East, where children of expatriates are eager to learn Nazrul sangeet.
Curtesy: The Daily Star, May 25, 2005
Discussing the popularity of Nazrul sangeet, well-known singer Nashid Kamal said that in Bangladesh both BTV and private channels like Channel I and ATN are making efforts to popularise this genre. "In West Bengal, on the other hand, channels like Tara have no separate slots for Nazrul sangeet. Today, when there are public performances on stage and TV, there is a fairly good demand for Nazrul sangeet, especially as an accompaniment for dances. However, when we look for new CDs and cassettes we find that these are rare. Only solvent or popular artistes get a chance to do commercial recordings. Due to lack of initiative and constant changes of authorities the Nazrul Institute has failed to make more CDs," said Nashid. The Nazrul Institute, however, Nashid said, has been active in producing correct notations, which will be useful for future generations. Dwelling on this theme, she said that only a few Nazrul sangeet artistes get to go overseas in foreign delegations. She was emphatic that was a need to create more demand for this genre of music among expatriates and music enthusiasts overseas. She pointed out that Nazrul should not be remembered only on his birth and death anniversaries. The ShilpakalaAcademy, NazrulAcademy and the Nazrul Institute should have monthly programmes, with slots for different artistes, to this end, she insisted. She continued, "To encourage artistes, the institutions should help with correct tunes and training. They should also be told how to get on with the media in order to record their CDs and cassettes, as the new generation is much more interested in band music."
In addition to the above, she said that that we need to send eminent Nazrul sangeet exponents to India through cultural programmes, in order to create an interest in this genre in India. She insisted that the same should be done for USA, UK and the Middle East, where children of expatriates are eager to learn Nazrul sangeet.
Curtesy: The Daily Star, May 25, 2005
Nashid Kamal
Nashid Kamal, a well-known Nazrul artiste, is also trained in folk music and modern songs. She was trained in classical music by Ustad PC Gomes, Akhter Shadmani and Kader Zameree. She learnt Nazrul sangeet under maestro Sudhin Das. Nashid began her musical career as a child artiste. She has three CDs (Nazrul, folk and Urdu ghazals), six audio cassettes and two LPs to her credit.
Is Nazrul given due recognition as our National Poet ?
Khairul Anam Shakil
Talented Nazrul singer, Khairul Anam Shakil, is voluble on the subject of Nazrul as the National Poet. As he says, "Nazrul always spoke for the common people. His rebellious spirit weathered the nation through every crisis and political oppression we have faced." After the Independence he was declared the National Poet of Bangladesh. But Shakil regrets, "Nazrul is a universal poet. None has ever realised his true spirits and he has never been interpreted accurately." According to Shakil, "Apart from negligence about the Rebel Poet, the reason is also lack of adequate media support on Nazrul regarding this issue." Shakil says, "There is a lack of coordinated effort in projecting Nazrul accurately and presenting him with proper respect. We should depict Nazrul with a neutral perspective. This would eventually lead to an authentic portrayal of this humane poet. "The government along with prominent Nazrul researchers and artistes should deliberately inform the new generation about his contribution. Well-rendered Nazrul songs by quality singers should be presented to make the new generation develop an affinity for Nazrul songs." Finally Shakil urged the media to uphold the spirit of Nazrul. The need of the hour, he said, was to promote Nazrul songs and project the problems of the artistes.
Curtesy: The Daily Star, May 25, 2005
Talented Nazrul singer, Khairul Anam Shakil, is voluble on the subject of Nazrul as the National Poet. As he says, "Nazrul always spoke for the common people. His rebellious spirit weathered the nation through every crisis and political oppression we have faced." After the Independence he was declared the National Poet of Bangladesh. But Shakil regrets, "Nazrul is a universal poet. None has ever realised his true spirits and he has never been interpreted accurately." According to Shakil, "Apart from negligence about the Rebel Poet, the reason is also lack of adequate media support on Nazrul regarding this issue." Shakil says, "There is a lack of coordinated effort in projecting Nazrul accurately and presenting him with proper respect. We should depict Nazrul with a neutral perspective. This would eventually lead to an authentic portrayal of this humane poet. "The government along with prominent Nazrul researchers and artistes should deliberately inform the new generation about his contribution. Well-rendered Nazrul songs by quality singers should be presented to make the new generation develop an affinity for Nazrul songs." Finally Shakil urged the media to uphold the spirit of Nazrul. The need of the hour, he said, was to promote Nazrul songs and project the problems of the artistes.
Curtesy: The Daily Star, May 25, 2005
Khairul A. Shakil
Khairul Anam Shakil is a long time Nazrul singer. He began singing when he was 10 years old. He took part in the Natun Kuri competition in the then East Pakistan and bagged the first prize in music. Shakil took his basic music lessons in Chhayanaut. He is the disciple of personalities such as Sanjida Khatun, Wahidul Haque, Sheikh Lutfur Rahman, Sohrab Hossain, Narayan Chandra Bashak and Indian classical guru Muhammad Sagiruddin. Shakil is the Secretary of Chhayanaut and a regular teacher of Nazrul Sangeet. His breakthrough song was "Padmar dheure", a Nazrul song belonging to the folk genre. Apart from Nazrul songs Shakil also performs songs of yesteryears.
The role of media in invigorating mass interest in Nazrul's songs
Fatema Tuz Zohra
Let me take this opportunity to say that I feel blessed to be a Nazrul singer. Nowadays we hear the complaint that the younger generation is not responsive to Nazrul songs or classical music. This is not quite true. I'm elated that many youngsters are taking an interest in Nazrul and quite a few of them are fairly talented. Having said that, I strongly believe these emerging artistes need promotion and encouragement and this is where the media can play a pivotal role. In fact not just the upcoming ones, even the prominent artistes need media support.
In today's CD-audio cassette-music video culture, the audio-visual media plays a central role in making an artiste a household name. A song can be very evocative but expressed through a fitting music video, a song can hit the target and make an intense impact on an individual. He/she can relate to the song in a more profound way. We need visually engaging, creative music videos that can present Nazrul songs from a unique perspective. It is really unfortunate that the audio-visual media has not shown ample interest in promoting Nazrul artistes, as there is this erroneous notion that Nazrul songs don't sell. Theme-wise, the diversity of Nazrul songs range from folk and classical numbers to traditional Arabian, Cuban and Turkish tunes. This distinctive trait of Nazrul songs should be utilised skillfully. Besides the audio-visual media, live performances are also vital. Year around we notice these lavishly organised concerts by pop artistes and popular bands. Can we not have well organised concerts by Nazrul artistes on a grand scale?
In our neighbouring country, I have noticed that even the non-Bangla speaking artistes convey their reverence for Kobiguru Rabindranath Tagore by rendering his songs. Perhaps, their accent, modulation and skills are not fit for rendering that certain genre of songs, but the passion and admiration for the music cannot be ignored. Similarly, if our popular artistes rendered even a few lines of Nazrul songs as the opening act at the concerts, it would be a well-appreciated boost.
Lastly, the print media has to be true to the cause of Nazrul songs. Newspapers and magazines should give necessary exposure to both emerging and eminent Nazrul artistes.
Our National Poet should just not be visible in textbooks or reminded by a busy avenue named after him. He has to radiate in our souls, through our passion for his spirited songs and enlightening literature.
Curtesy: The Daily Star, May 25, 2005
Let me take this opportunity to say that I feel blessed to be a Nazrul singer. Nowadays we hear the complaint that the younger generation is not responsive to Nazrul songs or classical music. This is not quite true. I'm elated that many youngsters are taking an interest in Nazrul and quite a few of them are fairly talented. Having said that, I strongly believe these emerging artistes need promotion and encouragement and this is where the media can play a pivotal role. In fact not just the upcoming ones, even the prominent artistes need media support.
In today's CD-audio cassette-music video culture, the audio-visual media plays a central role in making an artiste a household name. A song can be very evocative but expressed through a fitting music video, a song can hit the target and make an intense impact on an individual. He/she can relate to the song in a more profound way. We need visually engaging, creative music videos that can present Nazrul songs from a unique perspective. It is really unfortunate that the audio-visual media has not shown ample interest in promoting Nazrul artistes, as there is this erroneous notion that Nazrul songs don't sell. Theme-wise, the diversity of Nazrul songs range from folk and classical numbers to traditional Arabian, Cuban and Turkish tunes. This distinctive trait of Nazrul songs should be utilised skillfully. Besides the audio-visual media, live performances are also vital. Year around we notice these lavishly organised concerts by pop artistes and popular bands. Can we not have well organised concerts by Nazrul artistes on a grand scale?
In our neighbouring country, I have noticed that even the non-Bangla speaking artistes convey their reverence for Kobiguru Rabindranath Tagore by rendering his songs. Perhaps, their accent, modulation and skills are not fit for rendering that certain genre of songs, but the passion and admiration for the music cannot be ignored. Similarly, if our popular artistes rendered even a few lines of Nazrul songs as the opening act at the concerts, it would be a well-appreciated boost.
Lastly, the print media has to be true to the cause of Nazrul songs. Newspapers and magazines should give necessary exposure to both emerging and eminent Nazrul artistes.
Our National Poet should just not be visible in textbooks or reminded by a busy avenue named after him. He has to radiate in our souls, through our passion for his spirited songs and enlightening literature.
Curtesy: The Daily Star, May 25, 2005
Fatema Tuz Zohra
Fatema Tuz Zohra stepped into the world of music in 1963. She started taking lessons from Habibur Rahman Shathi and the tutelage continued till 1977. From then on she was trained by Mithun Dey. Fatema's rendition of the Nazrul Song "Ami Purob Desher Puro Naari" has wowed the audience for years. She fondly remembers how Legendary Nazrul artiste Feroza Begum taught her this song. Fatema intends to give it her all to the cause of making Nazrul songs appealing to this generation.
Perilous voyage across river of hatred
by Dilip Chakrabary
An artist is moulded by his but he also moulds his age. Posterity remembers those who mould successive generations. Where should we place Kazi Nazrul Islam, the country's most secular poet, in the context of modern communalism? Born in 1899, Nazrul inherited the humanism of the 19th century and imbibed the rationalism of the 20th century. The sufi traditions in his blood; his lesser exposure to the elite system of education; his direct exposure, as a foot solder, to the horrors of World War I; the influences of Muzaffar Ahmed, Janab Fazlul Haq, Chittaranjan Das; and his literary guru Rabindranath Tagore, all helped Nazrul rise above petty considerations of caste, creed and religion in his early years.
When we see the grotesque, painful communal orgies in India, the likes of Gujrat, we can no longer blame British machinations for our troubles. We must blame ourselves. It is at this moment that we most need Nazrul. His voice is still so relevant to our society. " Hindu na ora Muslim, oi jijnashe kon jon? Kandari balo dubichhe manush santan mor maar,"wrote Nazrul in Kandari Hunshiar with a force of emotion that simply will not lend itself to translation. The poem, written in 1926, ( the year he joined the Gramophone Company), speaks of a nation in turmoil like a boat being tossed about on a churning sea. In this great peril, it matters not whether a drowning man is a Hindu or a Muslim. He is simply a son of the motherland. One might say that in Nazrul's outburst against communalism we hear an impotent wrath, and that his anger has more intensity and less direction. In deed, the lines preceding those above are a challenge: "Asahay jaati dubichhe moriya, janena santaran, Kandari aaji dekhibo tomar matrimuktipan." The poet asks the Boatman to show his resolve in taking the vessel across the turbulent waters. Who would this Boatman to show his resolve in taking the vessel across the turbulent waters. Who would this Boatman be ? One could say he is everyman. Every citizen of this nation has to help steady the boat when communalism rocks it. For Nazrul secularism was not a strategy it was a faith. He practiced what he preached. His marriage to a Hindu woman led both the communities to ostracise him. But Nazrul would not yield to such divisive forces. One wonders how Nazrul would have reacted to partition. At the stroke of midnight on August 15, 1947, the rebel poet was alive physically but not mentally. He lived for three decades after Independence, but never regained clarity of mind. But the message in his work is clear: the stick that today demolishes mosque and temple will turn on the enemy fort tomorrow and raze it to the ground. Nazrul was a prophet, so let us hope that his warning to the force of hatred will be heeded.
(The writer is a retired principal of Girls' post graduate College, Nawalgarh, Rajasthan.)
An artist is moulded by his but he also moulds his age. Posterity remembers those who mould successive generations. Where should we place Kazi Nazrul Islam, the country's most secular poet, in the context of modern communalism? Born in 1899, Nazrul inherited the humanism of the 19th century and imbibed the rationalism of the 20th century. The sufi traditions in his blood; his lesser exposure to the elite system of education; his direct exposure, as a foot solder, to the horrors of World War I; the influences of Muzaffar Ahmed, Janab Fazlul Haq, Chittaranjan Das; and his literary guru Rabindranath Tagore, all helped Nazrul rise above petty considerations of caste, creed and religion in his early years.
When we see the grotesque, painful communal orgies in India, the likes of Gujrat, we can no longer blame British machinations for our troubles. We must blame ourselves. It is at this moment that we most need Nazrul. His voice is still so relevant to our society. " Hindu na ora Muslim, oi jijnashe kon jon? Kandari balo dubichhe manush santan mor maar,"wrote Nazrul in Kandari Hunshiar with a force of emotion that simply will not lend itself to translation. The poem, written in 1926, ( the year he joined the Gramophone Company), speaks of a nation in turmoil like a boat being tossed about on a churning sea. In this great peril, it matters not whether a drowning man is a Hindu or a Muslim. He is simply a son of the motherland. One might say that in Nazrul's outburst against communalism we hear an impotent wrath, and that his anger has more intensity and less direction. In deed, the lines preceding those above are a challenge: "Asahay jaati dubichhe moriya, janena santaran, Kandari aaji dekhibo tomar matrimuktipan." The poet asks the Boatman to show his resolve in taking the vessel across the turbulent waters. Who would this Boatman to show his resolve in taking the vessel across the turbulent waters. Who would this Boatman be ? One could say he is everyman. Every citizen of this nation has to help steady the boat when communalism rocks it. For Nazrul secularism was not a strategy it was a faith. He practiced what he preached. His marriage to a Hindu woman led both the communities to ostracise him. But Nazrul would not yield to such divisive forces. One wonders how Nazrul would have reacted to partition. At the stroke of midnight on August 15, 1947, the rebel poet was alive physically but not mentally. He lived for three decades after Independence, but never regained clarity of mind. But the message in his work is clear: the stick that today demolishes mosque and temple will turn on the enemy fort tomorrow and raze it to the ground. Nazrul was a prophet, so let us hope that his warning to the force of hatred will be heeded.
(The writer is a retired principal of Girls' post graduate College, Nawalgarh, Rajasthan.)
