By: Priyanku Narayan Baruah
Kalaguru Bishnu Prasad Rabha, Rupkonwar Jyoti Prasad Agarwala & Dr. Bhupen Hazarika are the Legends of Assamese Culture. They had achieved immortal glory in national & international platform. These personalities were master in their chosen vocation. Interestingly, Tezpur, considered to be the cultural capital of Assamese culture was the most proven working place for these three legends. Being one among the core regions of Assamese culture, the town has produced many stalwarts as it is already stated namely Dr. Bhupen Hazarika, Jyoti Prasad Agarwala (1903–51), Kalaguru Bishnu Prasad Rabha (1909–69) and many more.
If we consider to look at the level of social consciousness and awareness in the songs of these skillful performers, it reveals the way in which they had influenced the heart of common people. It seems they compelled people to think about the society in positive sense. The level of influence exerted by the Kola Guru can be observed through the fact that most cultural events, ceremonies, music competitions, etc of Assam feature a segment called Bishnu Rabha Sangeet comprising of his compositions, lyrics and verses. Bishnu Prasad was an established singer. He got well-versed in Borgeet, the immortal creations of Mahapurush Shrimanta Shankardev and gave the genre a new significance for the modern times. There are more than hundred songs composed by Rabha. His songs are collectively called as Bishnu Rabha Sangeet. This in total became a complete new genre of Assamese. In his songs one can see diverse themes like tributes to the Mother Nature, the exploitation of the peasant masses by the colonial rulers, the revolts of the workers of tea industries etc. His songs also reflect his revolutionary ideal and the country’s struggle for real freedom. Some of his songs are popular among children even today and will be, for all times to come. Some leading numbers include ‘Xurore Deulore, ’Bilote Halise’, etc. He advocated the need to be aware of other people’s cultures, views and religion etc. and spoke his voice out for a world community – a true humanist ideal. His evergreen compositions include song like Poro jonomor shubho logonot (In A Moment Of The Next Birth), Logon Ukali Gol (Time Gone By), roi roi keteki binai o (Slowly The Keteki Sings), tilai tilai (On The Hill Tops), kurua botah (West Wind) and many more to mention. He also translated the famous song of revolution “internationale” by Eugène Pottier into Assamese.
The other gem of Assam, Jyoti Prasad Agarwala was a fantastic poet as well. He wrote more than 300 songs and gave music to most of them. The collection of these songs is together known as Jyoti Sangeet. It too became a new genre of music itself in Assam in later days. Jyoti Prasad tried to enlighten the spirit of brotherhood and the feeling of unity among the people of Assam, a land of multiple ethnicity, religion and culture. His songs represent the message “Let’s Take The Journey Towards Light Together” …..light of development, common progress through uniform understanding and co-operation with passions, respecting the social values. As he had sung-
Ture mure alukore jatra..abyartha..abyartha..
Ture mure alukore jatra..abyartha..abyartha..
Aami paalu jiwonor artha abhinavo..
Swagata swagata xateertha!!
Xeujiya jiwonore jaag eti sanda..
Xeujiya jiwonore jaag eti sanda..
Aahe aahe..
Janataar antare antare..
Aluko baxanto aahe..
Prasarito aruno baani…
Aag barhe..Aag barhe
Jugargragaami taruna xenaani..
Aaji xamridhya bege jaage jaage..
Biplobi praan…
Mukhorito dixe dixe aganir gaan!
…
Ture mure alukore jatra..abyartha..abyartha..
Ture mure alukore jatra..abyartha..abyartha..
Aami paalu jiwonor artha abhinavo..
Swagata swagata xateertha!!
Many of the popular Jyoti Sangeet represent a feeling of love for his motherland as well as it has forwarded the message of revival for the Assamese race. In his own words:
“Luitar Parore Aami Deka Lora
Moribole Bhoi Nai
Luitar Parore Aami Deka Lora
Moribole Bhoi Nai…
Mukuti Medhar Mahan Mejir
Nejal Phiringati Sai
Puruhitu Jadi Thitate Aatari
Trakhote Murcha Jai
Aami Aagebarhi
Dingi Pati Pati
Tejere Balikhal
Jame Bulai
Luitar Parore Aami Deka Lora
Moribole Bhoi Nai…
Dukhe Bejare
Laghu Lanchanare
Aajiu Naparil Uor
Khata Kapurukh Purukhe Xahileu
Aamar Je Naxahe Gai
Aami Deka Lorai Jibon Pon Karisu
Muhaar Sakulu
Axomi Aai
Kalijar Aai
Luitar Parore Aami Deka Lora
Moribole Bhoi Nai...
Bhupen Hazarika was a towering cultural icon, who, by dint of his talent, not only enthralled audiences with his songs but also created affinity between cultures worldwide. Hazarika’s greatest strength of assimilation of all cultures lies in his songs. In the song Mahabahu Brahmaputra Mahamilanar Tirtha, he had depicted how the teachings of Sankardev, Ajan Fakir and Guru Teg Bahadur were assimilated by the Brahmaputra. Hazarika left his imprint on the world canvas too, by singing with Paul Robson and against apartheid in South Africa and about Nelson Mandela. The song Moi Eti Jajabor on seeing the sufferings of people on the banks of London’s Tames river is just another expression of the golden heart he possessed. Bangladesh had posthumously conferred on Hazarika its highest civilian award — Muktijoddha Padak — for their affinity with his immortal songs including Ganga Amar Ma, Padma Amar Ma )Ganges My Mother, Padma My mother). Hazarika fought vehemently to get Goalpariya lokageet (Famous and culturally unique folk songs of Goalpara, a district in Assam), recognized against the prevailing set of norms and system and succeeded in doing so. His uniquely deep baritone voice and his easy-on-the-ear compositions that quite often culled out finer nuances of classical ragas and the huge variety of folk music of North-East India, were already deeply ingrained in my subconscious by then. It was much later that his lyrics – the meaning of the words and the mood they created – could mean anything to the audience. Indeed, his innate belief in the power of music to break barriers among individuals got reflected through not only his personal demeanour but also through his songs, films, writings and live performances.
In his later life, he was deeply concerned about the atmosphere of social unrest in Assam – he had more than once told me that he wished that people would understand and use the “power of Gaan” (songs) than that of the “power of the gun” to resolve problems of the society. In fact, if one dream of his that remained unfulfilled was his plan to make a feature film that would speak about the need to forsake the path of violence in the society [The Bard of Brahmaputra (Tribute in Outlook Magazine)By Utpal Borpujari]. His songs, written and sung mainly in the Assamese language by himself, are marked by humanity and universal brotherhood and have been translated and sung in many languages, most notably in Bengali, and Hindi. Known for writing bold lyrics with themes of communal amity, universal justice and empathy, his songs have become popular among all sections of ethnic and religious communities in Assam, besides West Bengal and Bangladesh. He is acknowledged widely in the Hindi film industry for introducing Hindi film to the sounds and folk music of Assam and Northeast India.
How Dr. Bhupen Hazarika, Rupkonwar Jyoti Prasad Agarwala & Kalaguru Bishnu Prasad Rabha were in close connection? In an Interview, Dr. Bhupen Hazarika’s sister Sudakshina Hazarika Sarma answered this question. “Bhupen Hazarika had inspired millions when he was alive. A sea of people in Assam, irrespective of caste, creed and religion had come out of their houses to receive him even after his death. What made him such a popular singer?” She answered- “Bhupenda’s close association with the cultural icons of Assamese society — Rupkonwar Jyoti Prasad Agarwala, Kalaguru Bishnu Prasad Rabha and Natsurjya Phani Sarma — had greatly influenced him to compose and sing songs of humanity. They portrayed the real world before him. Besides, our father late Nilakanta Hazarika and mother late Santipriya Hazarika had progressive outlook which perhaps influenced Bhupenda a lot. They used to tell us to know the world and make friendship will everyone to know them. Wherever Bhupenda went he used to come back home picking the folk tunes and learn songs of various tribes and communities and would teach us. He used to compose songs and use various elements of folk music and folk culture which perhaps made his songs closer to the hearts of people belonging to different tribes and communities. This also helped bring various cultures closer to each other. He was a real lover of mankind and his deep love for humanity was reflected in his compositions and singing. Later when he had gone to do his Ph.D in Mass Communication in Columbia University, Jyoti Prasad Agarwala asked him to meet the legendary singer Paul Robson there. Bhupenda’s love for humanity increased manifold after meeting Robson, the reflection of which is seen in the songs composed and sung by him in the subsequent period and these songs took him closer to wider sections of people.” However these songs represent the common people feeling in every aspect of life. Viz:
“Chitralekha, chitralekha,chitra ekhon aka na
Chirtapotot chintaxeel ek sinta nayok aka na
Janajibonore rong xukula, mon jibonare gobheer neela,
Patra duti xojai lowa, duyuti rong milai lowa
Tulika tuli lowana ”
(Chitralekha, Chitralekha, draw a painting
A thoughtful hero on the canvas
The color of people’s life is white, dark blue the color of our heart,
Get two vessels arranged, mix both the colors
Please, grab the brass).
In this lesser known yet defining song, Bhupen Hazarika asks Chitralekha, from the Mahabharata, to paint an intellectual hero who thinks with the heart. In other words, Hazarika, who passed away on 5 November, unwittingly requests the mythological painter to draw his own image.
Hazarika began his journey when he went beyond his appointed task of reporting on the Sino-Indian war in 1962. After witnessing 56 dead bodies frozen on the Kameng range, the artist within him responded with a song, ‘Koto jowanor mrityu hol’ (So many soldiers died). He would later go on to pen lyrics upholding the struggles for the independence of Bangladesh, writing ‘Jai jai nabajato Bangladesh’ (Long Live newborn Bangladesh). Going beyond regional politics, he would also celebrate the end of apartheid in South Africa, singing loud and clear ‘Jindabad Mandela’ (Long live Mandela).
As an individual constantly engaged with contemporary history and politics, Hazarika unremittingly played the role of a political commentator. By politicizing culture, he was able to influence the masses, especially those of his own land, Assam. Often, he would use the imagery of the mighty Brahmaputra River to illustrate the numerous social, political and cultural discourses taking place in Assam. If the song ‘Mahabahu Brahmaputra’ (potent Brahmaputra) describes the assimilative process by which the Assamese sub-nation consolidated over centuries, then the masterpiece ‘Bistirno parore’ (On the vast banks) laments moral decadence on the banks of the river.
Hazarika himself was greatly influenced by the African-American singer and composer Paul Robson. In fact, ‘Bistirno parore’ is in a way a reproduction of Robeson’s well-known ‘Old Man River’. The works of the American musician offered the Assamese a sense of determinism. Although he never made a concrete public statement on the separatist movements taking place within Assam, Hazarika did emphasize on the cause of Assamese unity throughout his career. He condemned what he saw as the neo-imperialist agendas of the Indian government, and was concerned about its refusal to recognize Assam as a union state. The lines from one of his lesser known songs, ‘Jibon xindhu bohu bindure hoi jodi’ (If life is constituted by diverse elements), sum up his longing for a better-understood Assam and a socialist world order: viz :
“Xomajok eri kono baad nohoi,
Xomajbaad ajir lakhya,
…
Mahabharator moha ongo oxom, xobare obohela neusiba lage,
Lubhiya noba upanibexbadeer xoxon biporeete hajare jage.”
(There cannot be any ‘ism’ without the society,
Socialism is today’s goal,
Assam is an important part of India.
Yet, it has the burden of defying everyone’s negligence,
Thousands are fighting against the oppressions of the greedy neo-imperialists.)
Even his songs of tea-garden labourers, Scheduled Caste fishermen and toiling peasants could not remain apolitical. Sung in a colloquial language, these compositions were insightful on the local level but also covered the mainstream social and political discourses. One of his most popular numbers, ‘Oxom dexor bagisare chowali (I am a girl from the tea gardens of Assam), from the film Chameli Memsab, describes not just the tragic construct of Chameli, daughter of a tea-garden laborer, but also weaves in stories of exploitation of migrant laborers on these plantations and their subsequent alienation from the mainstream Assamese social sphere. Another song, ‘Porohi puwate’ (In the morning before yesterday), tells the story of a young fisherman named Rongman who goes fishing one day and never comes back. And in ‘Zik mik dewalir bonti jole’ (The lights of Diwali shine), the pain of the working class reaches a deeper level with a lonely widow’s cry going unheard amidst the celebration of the festival of light.
Hazarika shared a two-way relationship with the proletariat. On one hand, he relied on the folk musical traditions of various tribes of Assam for inspiration; on the other, he supplemented these folk forms with radical avant-garde content, consisting of the Adivasi struggle. The outcome of this relationship was that narratives about the lives of the downtrodden found sympathetic ears in the drawing rooms of urban middle-class families. The artist thus worked as a bridge between the toiling masses and the middle class, the urban and the rural, the Adivasi and caste Hindu communities.
This inadvertent role of a bridge, however, was not easy. In 2010, writer Loknath Goswami analysed Hazarika’s life and work in a book entitled Bondita Bhupenda Nindita Bhupen Hazarika (Adored Bhupen da, loathed Bhupen Hazarika). Goswami, and his reviewers, wonder how a singer who began his musical career under the guidance of renowned revolutionary artists – Jyoti Prasad Agarwala and Bishnu Prasad Rabha – and who once announced that he wanted to ‘kill the oppressors with weapons made of human skeletons’ could become increasingly hesitant in fighting for the oppressed. How could the man who wished the water of Brahmaputra would shine, upon receiving state awards suddenly announce that the river is already shining? How could Hazarika, who bemoaned the lack of another Lachit Borphukan to lead Assam, discover such leaders among the agitated Assamese youth of the Assam Movement?
Answers to these pertinent questions can be found in the complex dynamics of the realm of the popular, which allows such contradictions to exist. The thousands who crowded the streets of Guwahati after his recent demise were the same who grew up with the iconic image of ‘Bhupen da’, conceived through the numerous honors showered upon him during his lifetime. The pitfall with adhering to this fond epithet ‘da’, meaning ‘elder brother’, is that he might be misinterpreted and misappropriated according to the changing political need. The people of Assam have already converted their two most radical and influential thinkers of the last century, Bishnu Prasad Rabha and Jyoti Prasad Aggarwala, into mere cultural icons as ‘Kolaguru’ (The teacher of art) and ‘Rupkowar’ (The prince of beauty), respectively. One shudders to think what fate might await Hazarika’s legacy. It is to be remembered that a young Bhupen Hazarika was noticed by the doyens of Assamese culture, Jyotiprasad Agarwala and Bishnuprasad Rabha, when he had performed a Borgeet at the age of 10 in Tezpur. Subsequently, Hazarika sang two songs in Agarwala’s film Indramalati (1939): Kaxote Kolosi Loi and Biswo Bijoyi Naujawan at the tender age of 12. He wrote his first song, Agnijugor Firingoti Moi at the age of 13 and he was well on his way to becoming a lyricist, composer and singer. Being a visionary of egalitarian society, indeed he was carrying forward the voyage of socio-cultural revolution undertaken by his predecessor RupKonwar Jyoti Prasad Agarwala and Kolaguru Bishnu Prasad Rabha who happened to be his motivator and pathfinder.
