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Many and diverse the colour of the cows, But white the colour that all milk shows. Through all the world, a Mother's name A Mother's song is found the same. About 40 years ago I have collected this song from our neighbouring village Shibrampur, Faridpur, E. Bengal. This was the introductory (Bandana) Gazi song of the village singer's group. By the time he was a student at Faridpur Rajendra College his poetry had already won him some fame. Kobor (Graves) was prescribed as the text for the Matriculation Examination at Calcutta University when Jasim Uddin was still a student in the 1. A. Class (Rajenra College, under Calcutta University, 1927) At the age of 20, Jasim Uddin became famous all over Bengal. Prof. Dinnesh Chanra Sen appointed him as a Ramtanu Laheri scholar. He published famous poetry books in 1927 Rakhali, 1928 Nakshi Kather Math, 1931 Baluchar, 1933 Dhankhet, 1933 Sujon Badier Ghat and in 1934 Hashu (Poems for Children) published from Kolkata by renown publishers (Calcutta). Prof. Aminul Islam, University of Ohio writes that during the time of Ramtanu Lahari scholar, Jasim Uddin visited almost all rural area of Bengal and as a natural poet his mind was filled up with the treasures of folk culture and his music (Nishtte jaio Phulo bano, O daradi etc) spread all over Bengal. Jasim uddin is one the best folk poets of Bengal.
Iraqi comedy movie inspired by the famous Muppets Show , Its a funny story about Jasim(Kermit the frog the Iraqi version) who wants to sell his theater after he belived that art means nothing to Iraqis these days , He met few guys who convinced him that art will never be worthless . Art is everything in life and together they can build the theater again . This can be the helarious and the biggest Iraqi comedy film ever made . You should watch the full version that will be released very soon in theaters in Amman , Damascus , Baghdad and maybe Dubai .
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RECITED BY JASIM UDDIN 'Kabar', first published in 1929 in Rakhali (Pastoral Poems),was as a text for the Matriculation Examination of Calcutta University while Jasim Uddin was still a student of IA class. "I was surprised when in 1929 I read Jasimuddin's poem "Kabar" in Calcutta Universitys selection of Bengali texts for the Matriculation examination. A poem by a Muslim writer in the Matriculation selections! And that too under the auspices of the University of Calcutta? . . . A teacher of mine told me a story about this. There was forceful opposition in [the University's] Syndicate to the inclusion of by a student. But Dr Dinesh Sen was the number one advocate for Jasimuddin. . . . Apparently, he countered the opposition by saying, "All right, please be patient and just listen to me recite the poem." He had a passionate voice and could recite poetry well. He read the poem with such wonderful effect that the eyes of many members of the Syndicate were glistening with tears." KABAR - GRAVE Here, under the pomegranate tree, is your grandmother's grave; For thirty years my tears have kept it green. She was a little doll-faced girl when she came to my horne, And she wept to be done with the play ofher childhood days. Returned from my travelling onee, I suddenly knew She had been in my thoughts all the time. Like the dawn her golden face would blind my eyes, And from that day I lost myselfamong smallj oys of hers. There along that path I'd take the plough to the fields And <b>...</b>
Lyrics & Composition: Kobi Jasim Uddin / Singer: Ferdousi Rahman
Poet Jasim Uddin Faridpur Region Folk Bangla Folk Song cryforcry Bangladesh Cry For
Folk songs Bangla folk music has a long history. Several people contributed to what has become one of the most important musical influences in lives of Bengalis on both sides of the (West Bengal-Bangladesh) border. Among these are Lalon Fokir, Hason Raja and Ramesh Shill. Abbas Uddin was a key player in popularising folk music later on. Folk music can clearly be distinguished and classified into several sub-genres: • Baul: mainly inspired by Lalon Fokir and his Sufi way of living and almost exclusively performed by hermits who have adopted such (Sufi) life style • Bhandari: devotional music from the South (mainly Chittagong) • Bhatiali: music of fishermen and boatman, almost always tied by a common raga (mode), sung solo • Bhawaiya: song of bullock-cart drivers of the North (Rangpur) • Gajir geet: tradition song from the North (Rangpur) • Gombhira: song (originating in Chapai Nawabganj, in the North) performed with a particular distinctive rhythm and dance with two performers, always personifying a man and his grand father, discussing a topic to raise social awareness • Hason Raja: devotional songs written by music composer Hason Raja (from Sylhet near Assam) that was recently repopularised as popular dance music • Jaari: song that involves musical battle between two groups • Jatra Pala: songs associated exclusively with plays (performed on-stage) that usually always involve historical themes presented in a very colourful way • Kirtan: devotional song depicting love of <b>...</b>
Jasim Uddin writes: In these swift-measure songs the tunes themselves are universally easy to understand. Because the words are predominant, a foreigner who does not know the language cannot enjoy them for very long at a stretch; but the tunes can be adopted go from country to country. In the long measured songs, on the other hand, the cadences are half-curved, long-curved, rounded, quarter-curved and full-curved. Where European tunes run in straight lines the tunes of East Bengal flow in curve's. The tune, not the words, is the main thing, and so those long-measure songs can be understood by a foreigner; only he has to train his ear to their simple cadences. One thins is worth remarking here. I have heard these songs sung to European audiences by our best singers, and although the audience liked them in a way, they could not enjoy them with full understanding. And yet when a European gave his own rendering of them, though he left our something that a Bengali ear would want, the European audience responded with full enthusiasm. In the same way, it is easier for me to enjoy songs, a European ear might find the rendering of which imperfect. Just as literature has to be slightly changed in translation, and only then it will yield its beauty to the foreign reader, so it appears tunes may be translated into foreign idiom. One thins is worth remarking here. I have heard these songs sung to European audiences by our best singers, and although the audience liked them in a way <b>...</b>
Jasimuddin's deep involvement in non-communal socio-political movements championing the cause of Bengali language and literature gives his lyric and folksy poetry a keen edge of commitment and protest. His poems are popular as part of school curricula in West Bengal, India as much as in Bangladesh. Only Dr. Dinesh Chandra Sen fully recognized Jasim Uddin's the talent and unique discovery of natural bengali heritage and culture. But as our present history, we do not respect our cultural and social heritage. When Bangladesh was liberated from the clutches of Punjabi-Sindhi cliques of Pakistani bourgeoisies in 1971, we were promised a society based on Democracy, Socialism, Nationalism and Secularism; that pledge has never come into being; on the contrary, with a heavy heart, we observe the advent of one military despot after another who whored our sacred constitution, plundered the country's national resources and had made it a hell for religious and ethnic minorities. Bangla musical genres like Aul, Baul, Marfati and Murshidi are heavily influenced by the mystic philosophy found in the Charyapadas. Besides, Vaishnava Padabalis--songs and verses praising Lord Vishnu--have also influenced Bangla music. Michael Madhusudan Dutta, Rabindranath Tagore, Kazi Nazrul Islam and Jasimuddin were immensely influenced by mysticism, Sufism and Baul doctrines (A touch of the mystic , 2004).
A baul is not born, he is made. If anyone is willing to accept the Baul faith, he or she is inducted into the Baul cult after being properly initiated by the Baul Guru. In fact, initiation or diksha is considered sine qua non to the baul faith. When a Baul is initiated, a ceremony is arranged...
FOLK SONGS OF BENGAL Bangla literature evolved from a form of musical composition known as Charya which was basically a north Indian musical form. The Charya lyrics were similar to sonnet in length and its organized singing mode infused into Bangla songs a kind of classical discipline at the very early stage. Jaydeb, a 12th C Bangalee poet, modeled his songs on Radha-Krishna love lore and compiled in a collection called Geet Gobinda. The Geetgobinda is regarded as precursor of Dhrupada. Historically speaking the early Bangla musical expressions were expressed in loric forms and was modeled on the mystical Buddhist songs known as Charya songs. Bangla folk music has a long history. Several people contributed to what has become one of the most important musical influences in lives of Bengalis on both sides of the (West Bengal-Bangladesh) border. Among these are Lalon Fokir, Hason Raja and Ramesh Shill. Abbas Uddin was a key player in popularising folk music later on. From Jasim Uddin, Folk Songs of E. Bengal, USIS (1959), Palash Publication, Essays of Jasim Uddin II, 2001) Folk-song is the collective creation of a whole people You cannot calculate the age of a song from the shape of its tune. Even today the one-line song is composed afresh in our villages; and a well-developed melody may be centuries old. Whether ill tune or wording, a folk-song is neither old nor new. From day .to day it changes a little, by the additions and alterations' of different singers, and always it <b>...</b>
In Bengal from ancient times, kirtan was sung in praise of the divine. Buddhists sang charya, which is in fact another form of kirtan. While all songs which glorify God and describe his different names and attributes are kirtan, Chaitanya gave a specific form to kirtan and divided it into two types: kirtan which names God and kirtan which describes the doings of God. There are five parts of kirtan: katha, donha, akhar, tuk and chhut. Another part of kirtan is jhumur. The influence of jhumur can be seen in Bangla folk songs as well as in modern songs. nazrul islam used jhumur in a number of songs such as 'Churir tale nurir mala', 'Tepantarer mathe badhu he', 'Ranamatir pathe lo', etc. The age of the mangalkavya or mangal gan, ie panegyrics or songs in praise of deities, lasted from the 15th to the 18th century. These songs were based on ragas such as basanta, mallar, sri, kaushiki and sung to a specific tune known as mangalsur. The mangalkavya record the names of many instruments that were used during that period: Sahnai, Bansi (flute), Mrdanga, shankha, karatal, Mandira, rabab, dotara, Sitar, dampha, Khamak. The pala or ballad, written between the 16th to 18th centuries, forms an important folk genre. Some of the most well known ballads of Bengal are the maimansingha gitika and purbabanga-gitika. • Gombhira: song (originating in Chapai Nawabganj, in the North) performed with a particular distinctive rhythm and dance with two performers, always personifying a man and his <b>...</b>
Bhatiyali songs One of the most famous and extremely popular bhatiyali songs "His poetry appears like the breeze from the countryside that cools the sighs and sweats of urban living. He is congratulated for creating a new school of poetry ;" Dr. Dinesh chandra Sen Jasim Uddin's poetry has a new trend, a new taste and a new language. - Rabinranath Tagore Verrier Elwin Jasim Uddin knows every fact of village life in Bengal and is partial to rural people. The heroes of his poems and stories are farmers, fishermen, boatmen, weavers, cowherds, even roadside barbers, wandering gypsies, palmists and astrologers Today the sun has fallen asleep behind the dark clouds. And Keya the rain-flower dreams by the water What yong maiden on the still wet branches of Kadamba Open small petals speechless for ecstasy? Village Rain, Jasim Uddin Prof. Aminul Islam, University of Ohio writes that during the time of Ramtanu Lahari scholar, Jasim Uddin visited almost all rural area of Bengal and as a natural poet his mind was filled up with the treasures of folk culture and his music (Nishtte jaio Phulo bano, O daradi etc) spread all over Bengal. Jasim uddin is one the best folk poets of Bengal. © Jasim Uddin is from the collection of the renowned poet and the folk music exponent Jasim Uddin (1904-76). Few Bengali poets have loved the villages of Bengal more and few have expressed in poems and songs the simple joys and sorrows of the villagers more poignantly and feelingly Bangla literature <b>...</b>
Since the early decades of the last century, modern Bengali literature swept into the mainstream of world culture through the works of such geniuses as Michael Madhusudan Dutt, Rabindranath Tagore and the rebel poet Kazi Nazrul Islam while poet Jasimuddin's austere lyrical anecdotes-depicting rural life with its joys and sorrows,romance and pathos-kept alive the link with the toiling masses. (The Independent, 28 March 2008) Since the early decades of the last century, modern Bengali literature swept into the mainstream of world culture through the works of such geniuses as Michael Madhusudan Dutt, Rabindranath Tagore and the rebel poet Kazi Nazrul Islam while poet Jasimuddin's austere lyrical anecdotes-depicting rural life with its joys and sorrows,romance and pathos-kept alive the link with the toiling masses. (The Independent, 28 March 2008) Jasim Uddin is proud of belonging to the folk tradition of Bengali literature. He was pleased by a recent comment of one critic who, praising his autobiography, said: 'Reading Jasim Uddin's Jiban Katha (autobiography) is like eating country cakes from mother's own hand.' In a foreword to the translation of Nakshi Kathar Math, Mr Verrier Elwin writes, 'I do not know whether The Field of the Embroidered Quilt can be classed as folk-poetry, but it is obviously poetry about the folk. After nearly ten years of village life I find every detail of the picture, every turn of the story, waking a response in my mind.' What Mr Elwin says of <b>...</b>
Rural Rural Heritage Revival Society, President Gurosadoy Datta, General Secretary Jasim Uddin 1933 Sometimes I would collect a group of songs and, knowing the taste of the towns, would select from them only those which were likely to be acceptable. I would expurgate the village versions, cutting out the lines which were too vulgar or too frankly erotie to pass in polite society. Sometimes I would learn a song in some cultivator's cottage, of which the melody impressed me but the words were clumsy and crude. So I myself would set new words to it better suited to educated taste. It might be that the villager who gave me the song knew only the tune and three or four lines of the words, and I would make up the rest in the same spirit. These half-original songs were often really valuable because the educated public liked them, and at the same time they suited the village singers and became popular. The taste was coming to life, and after a while we were joined by some famous singers of our time, whose singing made the folk-songs known much more widely. Many of the songs I taught them were recorded and some of them have become so popular that they are still to be heard in every village of East Bengal. Different gramophone companies began to take up the recording of folk-songs as a commercial proposition. By about 1930 folk-songs had gained their public in the towns, and the radio began to take them up. Sometimes I was able to bring a party of singers to the town from a remote <b>...</b>
© Jasim Uddin Come to the garden by night. My bee. I shal stay up the night Lighting the lamp of moon And talking to the dew drops My bee. Come to the garden by night should I fall asleep Tread softly my bee, Do not break the branch Or crush my flowers. Or awaken the flower...
FOLK SONGS OF BENGAL VISIT POET JASIM UDDIN HOUSE AMBIKAPUR FARIDPUR BANGLADESH basuuddin
What a fantastic Song! Jasim Uddin first published an article on Lalon Shah in Bangobani, Calcutta, in 1926. Rabinranath Tagore writes, "These people roam about singing their songs, one of which I heard years ago from my roadside window, the first two lines roaming inscribed in my mind: Nobody can tell whence the bird unknown comes into my cage and goes out. ............. Look, how a strange bird flits in and out of the cage! O brother, I wish I could bind it with my mindís fetters. Have you seen a house of eight rooms with nine doors Closed and open, with windows in between, mirrored? O mind, you are a bird encaged! And of green sticks Is your cage made, but it will be broken one day. Lalon says: Open the cage, look how the bird wings away! People ask, what is Lalon's caste? Lalon says, my eyes fail to detect The signs of caste. Don't you see that Some wear garlands, some rosaries Around the neck? But does it make any Difference brother? O, tell me, What mark does one carry when One is born, or when one dies? The smell of materialism is not too distant from it, yet here among the disciples of Lalon we see the issues of property, money, possessions not given the highest importance. Practically no one talks of making more money, no one even bothers about the value of the clothes that one wears. In the attire, there is an austere uniformity-here among the Bauls all that is important is the search for ones inner self. The Bauls of Bengal are spiritual sect of traveling <b>...</b>
Prof. Aminul Islam, University of Ohio writes that during the time of Ramtanu Lahari scholar, Jasim Uddin visited almost all rural area of Bengal and as a natural poet his mind was filled up with the treasures of folk culture and his music (Nishtte jaio Phulo bano, O daradi etc) spread all over Bengal. Jasim uddin is one the best folk poets of Bengal. The songs of the countryside are the voice of the river. One of the most famous and extremely popular bhatiyali songs is from the collection of the renowned poet and the folk music exponent Jasim Uddin (1904-76). Few Bengali poets have loved the villages of Bengal more and few have expressed in poems and songs Music books of Jasim Uddin • "Rangila Nayer Majhi, • Padmapar, • Gangerpar, • Jari Gan, • Murshida Gan, • Rakhali Gan • Baul and • Many unpublished songs... Many songs as musical ballets - Madhumala, Rupabati, Beder Meya etc are full of musics. Besides in his ballet books he has started every chapter with with songs. He wanted to print Abinranath Tagores paining in his book. But at that time there was not any printing facility to print details of Abinranath Tagore's soft painting. Abinranath Tagore advised Jasim Uddin to write a song at the begining of a chapter. Jasim Uddin followed Tagore's advise. Abinranath Tagore's painting on Nakshi Kathar Math: © Jasim Uddin
Bhatiyali songs One of the most famous and extremely popular bhatiyali songs is from the collection of the renowned poet and the folk music exponent Jasim Uddin (1904-76). Few Bengali poets have loved the villages of Bengal more and few have expressed in poems and songs the simple joys and sorrows of the villagers more poignantly and feelingly amay bhasaili rey amay dubaili rey akul dariyar bujhi kul nairey kul nai kinar nai naiko nadir padi tumi sabdhanetey chalaiyo majhi amar bhang tari rey (You've set me adrift You've sunk me The endless waters have no shore Limitless, with no shores, the waters have no banks O row with care boatman, my riven boat.)
Music books of Jasim Uddin "Rangila Nayer Majhi, Padmapar, Gangerpar, Jari Gan, Murshida Gan, Rakhali Gan Baul and Many unpublished songs... Jasim Uddin Since the early decades of the last century, modern Bengali literature swept into the mainstream of world culture through the works of such geniuses as Michael Madhusudan Dutt, Rabindranath Tagore and the rebel poet Kazi Nazrul Islam while poet Jasimuddin's austere lyrical anecdotes-depicting rural life with its joys and sorrows,romance and pathos-kept alive the link with the toiling masses. (The Independent, 28 March 2008) Many songs as musical ballets - Madhumala, Rupabati, Beder Meya etc are full of musics. Besides in his ballet books he has started every chapter with with songs. He wanted to print Abinranath Tagores paining in his book. But at that time there was not any printing facility to print details of Abinranath Tagore's soft painting. Abinranath Tagore advised Jasim Uddin to write a song at the begining of a chapter. Jasim Uddin followed Tagore's advise. Abinranath Tagore's painting on Nakshi Kathar Math: He wanted to publish 5 volumes of Folk Songs of Bangladesh. Bangla Academy published only one volume of his Songs "Jari Gan". Jasim Uddin refused to accept Bangla Academy Award because of their non-coperation of publishing several volumes of Folk Songs. Jasim uddin said that he collected more than 10, 000 thousands folk songs. It is a great national loss as these songs are not documented and interpreted by <b>...</b>
Rongila rongila rongila re leaving me along where have you gone where have you gone my love where are you now. You would be the moon my love I will be the wave of river on the ebb and tide we'll meet. You would be the flower my love I would be the wind I will move around countries as insane. Jasim Uddin (1950) - Padmapar page 47 In Bengali: © Jasim Uddin The songs of the countryside are the voice of the river. • East Bengal is a country of rivers. Like tendrils of a creeper, or like the ornaments hanging on a woman's limbs, the sweeping curves and half curves and straight lines of innumerable Rivers have traced a network over fields. The rivers like beloved neighbours stretch our their rippling throats and sing the accomplishment to our country songs. The songs of the countryside are the voice of the river. Who is he, the unknown, unvisible maker of the village tunes, stroking the rivers with his soft-fingered wavy-hands as a player strokes the strings of an instrument, creating the many-coloured songs of Bengal in the batiali tunes. There is no village where the river is not .within two miles. For more than six months of the year the floods are out, and, in the rainy. season there is no work to be done. The cultivators fill up their leisure with an endless variety of folk-songs, and singing parities tour by boat from village to village. In this season number of people take to their boats and ferry goods from place to place, from one country to another. Far away from kith <b>...</b>
Jasim Uddin first published an article on Lalon Shah in Bangobani, Calcutta, in 1926. Rabinranath Tagore writes, "These people roam about singing their songs, one of which I heard years ago from my roadside window, the first two lines roaming inscribed in my mind: Nobody can tell whence the bird unknown comes into my cage and goes out. ............. Look, how a strange bird flits in and out of the cage! O brother, I wish I could bind it with my mindís fetters. Have you seen a house of eight rooms with nine doors Closed and open, with windows in between, mirrored? O mind, you are a bird encaged! And of green sticks Is your cage made, but it will be broken one day. Lalon says: Open the cage, look how the bird wings away! People ask, what is Lalon's caste? Lalon says, my eyes fail to detect The signs of caste. Don't you see that Some wear garlands, some rosaries Around the neck? But does it make any Difference brother? O, tell me, What mark does one carry when One is born, or when one dies? Poet Rabindranath Tagore in his Hebart Lecture in London (1933) first applauded Lalan Shah as a mystic poet who discovered 'soul' and the meaning of 'man'. Tagore said that I discovered that 'man' from the songs of Lalan who said that "(ai manushe ase se mon....) "....) the 'man' is within yourself where are you searching Him (Folkore, II, Calcutta, 1961). Tagore through his Estate-Assistant Bamacharan Chakravarty managed to copy nearly 150 songs from his akhra (residing place) Seuria <b>...</b>
Rongila rongila rongila re leaving me along where have you gone where have you gone my love where are you now. You would be the moon my love I will be the wave of river on the ebb and tide we'll meet. You would be the flower my love I would be the wind I will move around countries as insane. Jasim Uddin (1950) - Padmapar page 47 In Bengali: © Jasim Uddin East Bengal is a country of rivers. Like tendrils of a creeper, or like the ornaments hanging on a woman's limbs, the sweeping curves and half curves and straight lines of innumerable Rivers have traced a network over fields. The rivers like beloved neighbours stretch our their rippling throats and sing the accomplishment to our country songs. The songs of the countryside are the voice of the river. Who is he, the unknown, unvisible maker of the village tunes, stroking the rivers with his soft-fingered wavy-hands as a player strokes the strings of an instrument, creating the many-coloured songs of Bengal in the batiali tunes. There is no village where the river is not .within two miles. For more than six months of the year the floods are out, and, in the rainy. season there is no work to be done. The cultivators fill up their leisure with an endless variety of folk-songs, and singing parities tour by boat from village to village. In this season number of people take to their boats and ferry goods from place to place, from one country to another. Far away from kith and kin they sail their boats down the swift wild <b>...</b>
Jasim Uddin first published an article on Lalon Shah in Bangobani, Calcutta, in 1926. Rabinranath Tagore writes, "These people roam about singing their songs, one of which I heard years ago from my roadside window, the first two lines roaming inscribed in my mind: Nobody can tell whence the bird unknown comes into my cage and goes out., The Bauls of Bengal are spiritual sect of traveling minstrels whose songs of joy, love, and longing for a mystical union with the divine have captivated audiences for the past century. They are saffron-clad folk singers who traditionally live in the huts of rural Bengal though they can be found traveling, dancing, and singing their way around the world. Their livelihood depends entirely on donations which have been given to them freely over the centuries. They are teachers and spiritual gurus and they are a peace loving people that embrace all and quarrel with none. In fact, Bengalis are known to be among the most friendly and intelligent people in Indian Subcontinent.. The Bouls are the folk heroes of Bengal. "The popular romantic imagination everywhere seeks expression through its chosen bards: we have our Bob Dylans and Leonard Cohens, the Bengalis have thier Bauls. These wandering minstrels carry with them from village to city the soul of Bengal, perhaps of India, and every Bengali knows it even if today he is becoming uncertain what that soul really is" The mysticism of Lalon songs largely remains unrevealed and unexplored till date <b>...</b>
Bhatiali: music of fishermen and boatman, almost always tied by a common raga (mode), sung solo. Bangladesh is a country of rivers.Like the tendrils of a creeper, or like the ornments hanging on a women's limbs, the sweeping curves and half-curves lines of innumerable rivers have traced a network over the fields. In rainy season number of people take to their boats. The songs of the countryside are the voice of the river. Who is he, the unknown, unvisible maker of the village tunes, stroking the rivers with his softfingered wavy hands as a player strokes the strings of an instrument, creating the many-coloured songs of Bengal in the bhatiali tunes. (From: Folk Songs of East Bengal by Jasim Uddin- Essays of Jasim Uddin Part II,Palash Publication, Dhaka, 2001 A long time ago, when man did not obstruct rivers to suit his petty needs, the river channels served as goodwill ambassadors to extensive geographical areas - a river originating in one country flowing through another, joining another river, forming a filigree of merging and diverging rivers - with the social and cultural heritage of one region blending into another, each drawing on the rich yet varied perspectives in the whole process of cultural evolution. This is perhaps most apparent in Bengal's rich and enviable variety of folksongs. Rivers form an integral part of the topography of Bengal: "Bangladesh is the land of rivers. Ganga, Meghna, Dhaleshwari, Shitalakshya, Gadai - in so many names and in such myriad <b>...</b>
A long time ago, when man did not obstruct rivers to suit his petty needs, the river channels served as goodwill ambassadors to extensive geographical areas - a river originating in one country flowing through another, joining another river, forming a filigree of merging and diverging rivers - with the social and cultural heritage of one region blending into another, each drawing on the rich yet varied perspectives in the whole process of cultural evolution. This is perhaps most apparent in Bengal's rich and enviable variety of folksongs. Rivers form an integral part of the topography of Bengal: "Bangladesh is the land of rivers. Ganga, Meghna, Dhaleshwari, Shitalakshya, Gadai - in so many names and in such myriad forms these rivers encircle Bangladesh. Jasim Uddin writes: In such songs, where the words are the main element, this kind of structural growth is plain to see. But there is another kind in which the tune is the essential thing from the first; the words are casual and changeable. The tune expresses some primal human emotion. A village mother weeps for her son. She may cry her sorrow in whatever words come to her mind, but the sorrow is the same, and the rise and fall of her voice is like this : Ore amar ma re ma Amai chaire tui kothai geli re Mare ma. It wails : O my mother, my mother! Whither are you gone leaving me alone? O my mother, my mother! There the tune is monotonous, confined to a single line, but the next one is more varied because two lines are <b>...</b>
lalon geeti Dina Dina Holo Amar..... Jasim Uddin's Jasim Uddin first published an article on Lalon Shah in Bangobani, Calcutta, in 1926. Rabinranath Tagore writes, "These people roam about singing their songs, one of which I heard years ago from my roadside window, the first two lines roaming inscribed in my mind: Nobody can tell whence the bird unknown comes into my cage and goes out. ............. Look, how a strange bird flits in and out of the cage! O brother, I wish I could bind it with my mindís fetters. Have you seen a house of eight rooms with nine doors Closed and open, with windows in between, mirrored? O mind, you are a bird encaged! And of green sticks Is your cage made, but it will be broken one day. Lalon says: Open the cage, look how the bird wings away! People ask, what is Lalon's caste? Lalon says, my eyes fail to detect The signs of caste. Don't you see that Some wear garlands, some rosaries Around the neck? But does it make any Difference brother? O, tell me, What mark does one carry when One is born, or when one dies? The Bauls of Bengal are spiritual sect of traveling minstrels whose songs of joy, love, and longing for a mystical union with the divine have captivated audiences for the past century. They are saffron-clad folk singers who traditionally live in the huts of rural Bengal though they can be found traveling, dancing, and singing their way around the world. Their livelihood depends entirely on donations which have been given to them freely <b>...</b>
Jasim Uddin wrote and tuned folk songs which are still celebrated in the air and sky of Bengal. Jasim Uddin not only famous composer but he gave all the tunes of his music which is documented in gramophone records. Jasim Uddin collected several thousands of folk music from rural Bengal under the guidance of Prof. Dinesh Chandra Sen as a ramtanu Lahiri Scholar. He has written two books "Jari Gan and Murshida gan". The songs like O Amar Daradi, O Tui Jare aghat Hanlire, Nadir Kul Nai, O Amar Gahin Ganger Naya, Oi Shon Kadambo Tale ke, Ujan Ganger Naya. 'Nishite Jaio Phulo Bane', 'Prano shokhi re oi shone kodombo tole' or 'O amar dorodi age janle' and many others still persist and have been the backbone of Bengali folk music in this country. You cannot calculate the age of a song from the shape of its tune. Even today the one-line song is composed afresh in our villages; and a well-developed melody may be centuries old. Whether ill tune or wording, a folk-song is neither old nor new. From day .to day it changes a little, by the additions and alterations' of different singers, and always it remains true to the ancient pattern. This is what makes it a folk-song-the collective creation of a whole people. This is the course of development from simplicity to complexity. But please bear in mind that I am giving Folk-music of all parts of the world. Here, for instance, is one which may be compared with gipsy songs: • Prano Shaki re Oi Shon kadamo Tale Music and Lyric by Jasim Uddin <b>...</b>
NAO ANO RE BHAi © Jasim Uddin from PADMAPAR by Jasim Uddin Nao ano re bai nao ano re Rajani prbhat holo rebhai Nao ano re. • Nao ano re Music and Lyrics Jasim Uddin It calls : Bring the boat, dear friend, bring the boat The night is passing out Bring the boat, dear friend, bring the boat. "Bangladesh is the land of rivers. Ganga, Meghna, Dhaleshwari, Shitalakshya, Gadai - in so many names and in such myriad forms these rivers encircle Bangladesh. Playing on the silvery strings of the rivers, an invisible musician has with his delicate touch composed the song of its heart- the bhatiyali . Several areas remain submerged in rainwater for almost six months in a year, with the boat the only mode of transport . . . separated from their families for months on end, they have for their companion only the river on which they row their boats, with the waters merging into the horizons, and the azure heavens above. It is as if the waters are limitless. And the boatman, in his solitude questions his own existence - where have I come from? Where do I go hence? such questions pervade the songs of boatmen. Like the lyrics of these songs which have taken shape from the waters of these rivers, the tunes too have blended into the lyrics from the lilting waters of the rivers." - Jasim Uddin, "Murshida Gaan", Dhaka, 1977 FROM PADMAPAR by Jasim Uddin
www.jasimuddin.org Since the early decades of the last century, modern Bengali literature swept into the mainstream of world culture through the works of such geniuses as Michael Madhusudan Dutt, Rabindranath Tagore and the rebel poet Kazi Nazrul Islam while poet Jasimuddin's austere lyrical anecdotes-depicting rural life with its joys and sorrows,romance and pathos-kept alive the link with the toiling masses. (The Independent, 28 March 2008) Jasim Uddin is proud of belonging to the folk tradition of Bengali literature. He was pleased by a recent comment of one critic who, praising his autobiography, said: 'Reading Jasim Uddin's Jiban Katha (autobiography) is like eating country cakes from mother's own hand.' In a foreword to the translation of Nakshi Kathar Math, Mr Verrier Elwin writes, 'I do not know whether The Field of the Embroidered Quilt can be classed as folk-poetry, but it is obviously poetry about the folk. After nearly ten years of village life I find every detail of the picture, every turn of the story, waking a response in my mind.' What Mr Elwin says of The Field can also be said of Gipsy Wharf. The two poems were written within four years of each other, while Jasim Uddin was still at Calcutta University, doing research under the famous Bengali scholar, Dr Dinesh Chandra Sen. Gipsy Wharf benefited from Dr Sen's comments as well,as those of the famous writer and painter Abanindra Nath Tagore. The literature of this land (Bengal) is not merely Hindu <b>...</b>
Our country of East Bengal is very beautiful. So many poets-many makers of tunes, are lying under the shade of the trees, under the roofs of the farmers' broken-down cottages, in the depth of the forest, in the shadowy corners of the jute fields, in a thousand moods and a thousand postures...
Bengali Folk Song Bangla literature evolved from a form of musical composition known as Charya which was basically a north Indian musical form. The Charya lyrics were similar to sonnet in length and its organized singing mode infused into Bangla songs a kind of classical discipline at the very early stage. Jaydeb, a 12th C Bangalee poet, modeled his songs on Radha-Krishna love lore and compiled in a collection called Geet Gobinda. The Geetgobinda is regarded as precursor of Dhrupada. Historically speaking the early Bangla musical expressions were expressed in loric forms and was modeled on the mystical Buddhist songs known as Charya songs. Bangla folk music has a long history. Several people contributed to what has become one of the most important musical influences in lives of Bengalis on both sides of the (West Bengal-Bangladesh) border. Among these are Lalon Fokir, Hason Raja and Ramesh Shill. Abbas Uddin was a key player in popularising folk music later on. From Jasim Uddin, Folk Songs of E. Bengal, USIS (1959), Palash Publication, Essays of Jasim Uddin II, 2001) Folk-song is the collective creation of a whole people You cannot calculate the age of a song from the shape of its tune. Even today the one-line song is composed afresh in our villages; and a well-developed melody may be centuries old. Whether ill tune or wording, a folk-song is neither old nor new. From day .to day it changes a little, by the additions and alterations' of different singers, and always it <b>...</b>
My necklace is unhcoked and taken away, O Beauty! Why would I wear the necklace again? When my bosom friend is away from the world. (You) Tell my friend, when she comes Radha has lost her life In agony of separation from Krishna. Nobody has worked out the history of Bengali folk-songs scientifically, but it is not difficult to tread the main lines of it by commonsense. The earliest kind of songs originates in the cries of men at work on a common task-pulling about ashore, or rolling legs, or doing something else that needs concerted rhythmical effort. Such songs, if they can be called songs, are essentially nothing but a single rhythmical line. The words may change, but the line is repeated with its stresses unaltered; there is nothing that can be called a melody. Notice how its cadences are rounded and curved, and how by the two lines the monotony is slightly broken. Next, three or four lines are rhymed together and the tune gains in variety as they rise and fall : Amar galar har khule nelo Ogo Lalite Amar har pare ar ki lav habe O jar pran bandhu nai Brojete Bandhu jadi ashe deshe O Rai Krishna soge prun tajilo Kalidaher kulete. Jasim Uddin
Folk-song is the collective creation of a whole people You cannot calculate the age of a song from the shape of its tune. Even today the one-line song is composed afresh in our villages; and a well-developed melody may be centuries old. Whether ill tune or wording, a folk-song is neither old nor new. From day .to day it changes a little, by the additions and alterations' of different singers, and always it remains true to the ancient pattern. This is what makes it a folk-song-the collective creation of a whole people. This is the course of development from simplicity to complexity. But please bear in mind that I am giving Folk-music of all parts of the world. Here, for instance, is one which may be compared with gipsy songs: Nandolal Bose # Prano Shaki re Oi Shon kadamo Tale Music and Lyric by Jasim Uddin, Singer: Abbasuddin Ahmed Prano sa:khi re .. Oi Shone kadamba talai banshi bajai ke Banshi bajai ke re sakhi bansi bajai ke Amar 'galar har khuile e debo tare ina de. Jar bansi eman she ba keman janish jadi bal Tora koris nako chhal Amar man bale tar ba,nsi jan amar chokher jal!. It prays : O my dearest mate! Hark! there who plays on flute under the Kadamba tree; Bring him to me, I give my necklace to thee, Who plays on flute so (sweet), how is he, Tell me. Pray don't try any tricks, My mind feels, my tears his flute appreciates. The tunes can be adopted go from country to country. In these swift-measure songs the tunes themselves are universally easy to understand <b>...</b>
Lalan Fakir and the search for the Achin Pakhi Mysticism has always been an integral part of the thoughtful Bengali psyche. However modern we claim to be, every Bengali worth his or her salt feels the pull of the roots and the quest for something beyond the material world is always present. Religion plays an important part in our lives but organised religion sometimes fail to provide the right answers for the innermost questions. It is perhaps the major reason why the more orthodox form of Islam found it extremely difficult to find a foothold in this region. It is the mystic Sufis like Shah Jalal, Khan Jahan Ali, Shah Makhdum, Mahi Sawar, et al who were more influential in the spread of Islam. Now, Lalan Fakir is not a traveller in their paths. He is more like the other great sage of the sub-continent, Kabir. Like the dohas of Kabir, Lalan's song speaks about the special bond that exists between the creator and creations. Both hit out against the self-serving clergy and their message transcends religion. Today, his followers belong to all religion. But more than that, Lalan songs are greatly appreciated by the educated urbanites. . Many who do not believe in the Baul philosophy are also moved by Lalon's melody. The well-known intellectual Serajul Islam Chowdhury is one such person. "I am a materialist. I believe in this world and the other one interests me but little. However, I love the music of Lalon for its sheer lyrical quality. The keen interest that modern Bengali <b>...</b>
Poet Jasim Uddin and Abbasuddin advocated Folk songs of Bengal/India from 1930 - Calcutta In 1922, Dr. Dinesh Chandra Sen of Dacca collected a small group of collaborators, and began gathering the ballads and folklore of East bengal. I was one of those who worked with him, helping to collect several volumes. Some of them were published with the english translations by the University of Calcutta; one volume was translated into French. Dr. Sen was a true scholar with a genuine love for folk tradition, and he did more than any man before him to awaken in the educated public a sense of its beauty and value..... I had been born and brought up in a village and brought up entirely by cultivators, and the folk-songs were in my very blood. To me, unlike Dr. Sen, the tunes meant even more than the words : they embodied the meaning of the traditional life I loved. They enchanted me with their beauty and power, and I was set on making the reading public understand what was in them. It was not only for the sake of the reading public, it was a question of preserving the life of the tradition itself; because the country people were visibly beginning to imitate the townsfolk, and liked what they liked. If the towns set the example of admiring the songs, the villagers would follow suit and take a pride in them; if the towns despised and neglected them the songs themselves would gradually die out of memory. So far, however,scholar had worked on our folk-songs in a scientific spirit. About <b>...</b>
Bhawaiya: song of bullock-cart drivers of the North (Rangpur) Bhawaiya) is a musical form popular in Northern Bangladesh, especially Rangpur District and in North Bengal specially in Cooch behar District and Jalpaiguri District. This type of song is sung by the coachman. They sing this song while driving their cow drawn cart. These songs depict the will and woe of the common people. Bhawaiya is a popular musical form in northern Bangladesh, especially in greater Rangpur region as well as in West Bengal, India (particularly Cooch Behar and Jalpaiguri districts). According to folk researchers, in the past coachmen used to sing bhawaiya, while driving their cow-drawn-cart. Bhawaiya songs depict the will and woes of common people. Abbasuddin is considered to be the first bhawaiya artiste who picked up this art in rural northern Bengal, Cooch Behar and Jalpaiguri, and established it as a melodious form of music in urban and semi-urban areas. At the discussion at Rangpur Town Hall, the speakers gave glimpses of Abbasuddin's life. They also expressed their admiration for the legendary singer who devoted his life to music, especially bhawaiya. The speakers emphasised the need for government patronage in upholding the art form. They urged the government to set up a Bhawaiya Academy in northern Bangladesh. Regional folk songs have a pride of place in Bangladesh. However, though the genre is widely appreciated, such songs do not share the magnitude of popularity as other genres <b>...</b>
Jasim Uddin's poetry has a new trend, a new taste and a new langugage Rabinranath Tagore His poetry appears like the breeze from the countryside that that cools the sighs and sweats of urban living. He is congratulated for creating a new school of poetry. Dr. Dinesh Chandra Sen, Head of the Department of Bengali, Unversity of Calcutta. I read the poem with growing excitement and have returned it again and again to be delighted by its simplicity, and deep humanity. Verrier Elwin, Introduction to The Field of the Embrroideredv Quilt. If the sound of your flute Moves the water in my pitcher I shall put it to sleep By ringing my bracelet. How shall I tame my tears? Tell me, my love when you play your flute slowly, slowly. Jasim Uddin wrote and tuned folk songs which are still celebrated in the air and sky of Bengal. Jasim Uddin not only famous composer but he gave all the tunes of his music which is documented in gramophone records.
According to Saymon Zakaria, manuscript editor, Folklore Department at Bangla Academy, the roots of the ways of Bauls and their songs go deep into the thousand year old culture and heritage of Bengal. The verses of Baul songs have resemblance to Charyapad, the ancient anthology of poems and songs conveying message of Buddhism, he said. Before the emergence of Buddhism in Bengal in the ancient times there were jogotantrik shadhona and later Nath and Maithun religions. "Baul songs and ways of life are the continuation of Nath and other liberal religions in Bengal. It was very liberal towards all religions. That's why Bauls have disciples from both Muslims and Hindus that reflects liberalism and tolerance," said Saymon. Since the age of jogotantrik shadhona songs had been a strong medium to convey the message of God. At that time verses were preserved through songs and oration since written forms were mostly unavailable. "Following this ancient tradition Bauls also practise this oral way of preserving knowledge. This is the origin of Baul songs which emphasise conveying spiritual messages and universal love," he said. Change in the taste of audience over time is another reason behind the declining trend of Baul songs. "There was a time when people craved for these songs. But nowadays they like Western music and forgot their own culture," he said. Distortion of the original melody of the Baul songs by modern singers is jeopardising the authenticity, the Bauls alleged. "Many <b>...</b>
Rural Rural Heritage Revival Society, President Gurosadoy Datta, General Secretary Jasim Uddin 1933 Jasim Uddin writes: But the awakening of interest was not an easy matter, and our first efforts were disheartening. I remember how I came to the town with my beautiful songs, and with the little money. I had I bought ten seers of the best sweets and approached the best singer. He ate my sweets, but he did not sing my songs. I met Mr. Gurusadoy Datta of East Bengal of the Indian Civil Service, who genuinely loved the folk tradition and put his money and enthusiasm into the work. Together we started the Rural Heritage Revival Society, of which he was President " and I was Secretary. We advertised in the papers offering scholarships from a fund supplied by him to students who would study folk-music under our guidance. Sometimes I would collect a group of songs and, knowing the taste of the towns, would select from them only those which were likely to be acceptable. I would expurgate the village versions, cutting out the lines which were too vulgar or too frankly erotie to pass in polite society. Sometimes I would learn a song in some cultivator's cottage, of which the melody impressed me but the words were clumsy and crude. So I myself would set new words to it better suited to educated taste. It might be that the villager who gave me the song knew only the tune and three or four lines of the words, and I would make up the rest in the same spirit. These half-original songs <b>...</b>
More than 95 percent of the people of Bangladesh speak Bengali, which is one of the earliest modern languages of the subcontinent. It originated from the eastern Prakrit group of the Indo-Aryan family of languages. Early Bengali, in its lyrical form, originated in the 7th century AD. Its mediaeval period witnessed a steady upsurge of poetry having strong devotional and romantic overtones. In this connection, it should also be mentioned that innumerable Bangladeshis laid down their lives for the recognition of Bengali as a state language during the Language Movement in 1952. Since the early decades of the last century, modern Bengali literature swept into the mainstream of world culture through the works of such geniuses as Michael Madhusudan Dutt, Rabindranath Tagore and the rebel poet Kazi Nazrul Islam while poet Jasimuddin's austere lyrical anecdotes-depicting rural life with its joys and sorrows,romance and pathos-kept alive the link with the toiling masses. (The Independent, 28 March 2008) The literature of this land (Bengal) is not merely Hindu literature, nor can it be said to be a Moslem literature. Since both Hindus and Moslems have written in one language (Bengali), the literature of this land is both Hindu and Moslem. Those who would separate the two and make literature will not last many day, I am sure. Because of the universality of appeal in the world of literature, sectarian thought is out of place there. -Jasim Uddin- ON SONGS OF BENGAL
Jasim Uddin writes( Folk Songs of E. Bengal) Our country of East Bengal is very beautiful. So many poets-many makers of tunes, are lying under the shade of the trees, under the roofs of the farmers' broken-down cottages, in the depth of the forest, in the shadowy corners of the jute fields,...
Jasim Uddin writes: I had been born and brought up in a village and brought up entirely by cultivators, and the folk-songs were in my very blood. To me, unlike Dr. Sen, the tunes meant even more than the words : they embodied the meaning of the traditional life I loved. They enchanted me with their beauty and power, and I was set on making the reading public understand what was in them. It was not only for the sake of the reading public, it was a question of preserving the life of the tradition itself; because the country people were visibly beginning to imitate the townsfolk, and liked what they liked. If the towns set the example of admiring the songs, the villagers would follow suit and take a pride in them; if the towns despised and neglected them the songs themselves would gradually die out of memory. So far, however,scholar had worked on our folk-songs in a scientific spirit. About this time Dr. Backey came from the University of Oxford to research on them as a trained scholar. He got the tunes exactly recorded, and studied them in the light of his wider investigations. By about 1930 folk-songs had gained their public in the towns, and the radio began to take them up ... Sometimes I would collect a group of songs and, knowing the taste of the towns, would select from them only those which were likely to be acceptable. I would expurgate the village versions, cutting out the lines which were too vulgar or too frankly erotie to pass in polite society. Sometimes I would <b>...</b>
