Dr. Bhupen Hazarika and his attachment with Meghalaya

Dr. Bhupen Hazarika is not only a revered figure in Assam, but also equally revered in Meghalaya. The people who came in touch with him in one way or another still keep such glorious, delightful and nostalgic memories alive in their hearts.

Dr. Bhupen Hazarika (1926-2011)

The main purpose of this short article is to highlight his love towards and attachment with the people of Meghalaya. Also it is a small step towards educating the new generation about Bhupen Hazarika’s contribution in showcasing the culture and tradition of the people of Meghalaya, particularly the Khasis with the outside world during 50’s, 60’s and 70’s.

Dr. Hazarika was not merely a singer, but was a humanist. Most of his unforgettable songs carry the message of love and unity. His songs reflect the colourful culture of the tribes of the then great undivided Assam. In one of the songs he talks about the age-old relationship between Assamese and Khasis. Comparing both, he beautifully describes about the commonness in many avenues of rural lifestyles. I couldn’t help but to share this beautiful creation for greater perception which has been transliterated keeping the meaning and aesthetic sense as nearest as possible -

With drum beats

With the warmth of hearts

With the unseen thread of attachment

Let’s embrace the Great Syiem of the hills.

At wet Cherrapunjee

In the wetness of the sky

The way the generous cloud

Embraces our great ‘Luit’

Krishna cowboys play the ‘Bahi’

Khasi cowboys play the ‘Sharati’

Both the flutes made up of bamboo

Both express the same melody

Tall pine trees with green leaves

Our ‘Ahat’, too, reflects the same hue

‘Bnei’ or ‘Jone’ in the hills and plains

Blesses us with same moonlit night

By cultivating the red hills

Khasi farmers work day and night

In the plains, too, thousands of Rangmon

Represent the same farmers.

One of his most romantic numbers entitled ‘Shilongore godhuli’ (The Evening of Shillong) carries deep rooted meaning bringing alive the beauty of a young Khasi maiden and the beauty of the nature in the hills. He shared his affection towards the dew drops gracefully falling down from a ‘diengsie’ leaf. He was awe inspired when darkness slowly engulfed a tiny village in Meghalaya.

His another number ‘Shilongore Monalisa’ (Monalisa of Shillong), which he beautifully composed and sang alongwith his brother late Jayanta Hazarika, was one of the most remarkable songs where he describes about an imaginary Khasi damsel Monalisa Lyngdoh highlighting the ability to play guitar – a sign of culturally active people of Meghalaya.

Lien Makao – his another golden number, is a duet with Manna Dey and one of the most popular songs of the film ‘Pratidhwani’. The song carries the message of love and brotherhood among the people of Meghalaya. Similarly many of his creations carry the message of unity among the people of hills and plains.

He had a far reaching plan to create a common archive cum museum where songs of different tribes of the North-east would be preserved. He mentioned about the rich musical tradition of the Khasis, Jaintias, Garos, Hajongs etc in his songs, journals and interviews.

In the year 1970, Bhupen Hazarika won as an independent M.L.A. and placed in Shillong – the capital of undivided Assam. He was accommodated in the Room No. 33 at Pinewood Hotel, Shillong. It was the glorious moment for the people of Assam and Meghalaya. He did his best to develop the prevailed situation of rich musical traditions of Assam and the Khasis.

His brother and ex-professor of St. Anthony’s College, Sri Balen Hazarika still remembers the day and said to me once, “Bhupen da was the MLA and it was a moment of joy for his family members as well as fans. I along with many friends used to visit the assembly hall regularly just to witness the interesting yet unforgettable debates by the ministers and MLAs including Bhupen da. Bhupen da was always vocal about the importance of preserving the age-old traditions of our people and expected that the government would do their best and offer financial support for projects like the creation of an archive, Jyoti Chitraban, etc.”

The leading personalities among the Khasi intellectuals and thinkers like Dr. Helen Giri, Chesterfield Khongwir, etc. extended their full support and cooperation to Dr. Hazarika by helping him in showcasing Khasi cultural heritage in various occasions particularly outside of North-east India. Their commendable work in the ‘21st Banga Sanskriti Sanmilani’ was an unforgettable experience for thousands of audiences who thronged the venue to witness the colourful cultural heritage of the seven sisters where Dr. Hazarika’s role as the head of the northeast troupe as well as the interpreter of the entire programme is a matter to be specially referred to.

Dr. Hazarika was a successful film and music director. He directed a number of films in Assamese, Bengali and Hindi. In most of the films, that he directed, he himself was the script writer, lyricist, and music director. He directed some remarkable TV serials, too. His films were highly acclaimed and he was nominated as the best music director several times in his life. One of his unforgettable films was ‘Pratidhwani’ in 1964. It was a romantic film based on the life and culture of the Khasis. The same was dubbed into Khasi as ‘Ka Sharati’ which brought laurels to the state by receiving the Silver medal from the President of India. Further, the film was invited to the International Film Festival held in France in the same year. Dr. Hazarika had to work hard to collect money to make the film. He used to travel from one village to another along with his only God gifted property – the sweet and powerful voice. After this film he became a loving hero among the Khasis.

Dr. Hazarika used to perform at different concerts and events throughout Meghalaya including Garo hills; mostly to raise funds for noble causes like opening of a school, orphanage etc. Once in the ‘Laban Bihu Sanmilan’ the then people’s leader professor R. H. Lyngdoh emotionally hugged Dr. Hazarika and regretted saying, “Bhupen is better known outside than in the northeast.” This is partially true. Many of his evergreen compositions carry the message of love and unity among the people of northeast depicting their age-old relationship. But most of them are written and composed in Assamese and later translated into some other major Indian languages. Further, no significant steps are taken to translate his songs into other major languages of the Northeast. Local media is also responsible for that.

Dr. Hazarika had written a number of articles where he mentioned about the people and culture of Meghalaya. He had deep knowledge about the cultural heritage of the tribes of Meghalaya. Theoretically he knew all the nukes of Nongkrem and other dance forms as well as the traditional dances of Garos and Jaintias.

Today, at this time of social disorder and misunderstanding, Dr. Hazarika will remain an inspiration for thousands who are craving for peace and brotherhood. I have a firm belief that if his songs and other creations are correctly translated into different languages of the North-east and also if the new generation singers carry the deep meaningful messages of his songs, the negative attitudes of life will minimize to a great extent. Being a disciple of Paul Robeson and a person of principle he has proved many times through his powerful songs that ‘GAAN’ (music), and not ‘GUN’, can be the ideal and the cheapest instrument to fight against all social evils. Dr. Hazarika was an optimist and his songs reflect the same. Praising the monumental treasure work of U Soso Tham he said, “…Great people come once to the world to leave their foot prints through their golden creations. ‘Ka Duitara Ksiar’ is one among them….”

Bhupen Hazarika had a sense of humour. Once someone in America asked him the meaning of his name, he said, “‘Bhu’ means the earth in Assamese. I am the ‘pen’ of the ‘earth’.” Though the statement was comical, it best fitted him.

Truly, his writings reflect the love, happiness, miseries and sorrows of the mass. His songs have a universal appeal. Through his immortal creations he has proved that the pen is mightier than the sword. He is no more today, but his golden voice will forever act as the guiding force resonating peace and harmony among the people of different culture when racial and religious intolerance have reached the extremum.

By - Ankur Deka
Email: ankur1966@gmail.com
 

Priyamvada Patel Hazarika (wife of Bhupen Hazarika) paying her respect to Dr. Hazarika at a function in Guwahati, Assam

Inner Power Of Music And Music Therapy

Music remains part and parcel of human life. It has close affinity with man’s happiness and sorrow. There is no man on earth who has never moved by the sweetness of music. Even the cruelest one also not alienated from it. In this regard I remember a story about the infamous Mussolini who was suffering from insomnia or sleeping disorder due to tension. By the same time Indian classical singer and the representative of Gwalior Gharana Pt. Omkarnath Thakur happened to visit Italy as a part of his Europe tour. Hearing his presence in Rome Mussolini invited him to his court where he presented Indian classical music. The music had a deep effect on Mussolini and led him to sleep and thus he was cured of his sleeplessness. The same singer also calmed down a roaring angry lion in the Kabul zoo by his rendition of Kaphi raga. Similar stories are found in ancient India where in the court of Akbar, Mia Tansen produced fire by Deepak raga and brought rain to extinct the fire by the perfect rendition of Mallar raga.

Today we will discuss about a new and emerging field – Music Therapy. Music therapy has already gained popularity in the western world and even very recently penetrated the Indian subcontinent. Music has a promising role in the field of medical science. Music has the inner healing power which is unique. Today the use of music in hospitals, rehabilitation centers, schools, hospices, wellness centres and even in fitness centres has gained momentum. The relationship between music and medicine has become even sweeter than before and more systematic and research oriented. This relationship can rather be compared with the length and breadth of threads in the loom.

In the modern world music therapy was implemented for the first time for the benefit of the wounded soldiers in the World War II. The system of use of music to heal body and mind with a fixed target can be termed as Music Therapy.

In India people knew about the power of music from the days immemorial. In Samaveda the rules of raga rendition are available for treatment of diseases. In Ramdas Goud’s ‘Hindutva’ (1985, pp.85) there is mention of a book named ‘Sabdkoutuhal’. The one thousand slokas consist in that book were divided into three chapters. The first chapter describes about the treatment of different diseases with the use of sound and mentioned about ‘word medicine’. The uses of different instruments were recommended for different diseases. In the third chapter, there is a description about the removal of sickness by ‘shravan’, ‘manan’ and ‘kirtan’. Another book ‘Deval Sutra’ also enlightens about the rendition of ragas to cure diseases. It has been already proved that Indian raga music has enough healing power in treating diseases. Each raga has its own healing capacity. If the singer or player has deep knowledge about the rules of raga and expertise in performing the same can have impact on the health of the receiver whether it is mental or physical. A particular raga may act differently on different persons. Therefore, it is the prime duty of a music therapist to carefully select a raga taking into account the mental state of the receiver. Narad said in the fourth chapter of ‘Sangit Makarand’----

Ayurdharmayasobuddhi dhanadhanya phalam labhet |

Ragabhivriddhi santanam purnaragah pragiyate ||

Sangramarupalavanyam viraham guna kirtanam |

Sharavena pragatavyam lakshyanam gaditam yatha ||

Vyadhinashe, shatrunashe bhaya shoka vinashane |

Vyadhi daridrya santape, vishamgraha mochane ||

Kayadambaranashe cha mangala vishasamhrite |

Audavena pragatavyam gramashantyarthakarmani ||

-means Purna Raga should be rendered for longevity, faith, fame, intelligence, wealth, prosperity and fertility. Shadav Raga should be rendered in case of struggle, beauty, sorrow and other appraisal. Audab Raga should be rendered to remove unhappiness as a result of poverty, sickness and grahadosha.

The earliest written evidence about the effect of music on human body was found in the ‘Medical Papyri’ of 1500BC where there was mention about the increase of women fertility rate with the healing effect of music. Same kind of evidences are also found in some Greek stories.(Grove’s Dictionary of Music and Musicians, 1995, p.417-418).

Today music therapy is equipped with more rules to be able to prove it as an emerging scientific area. Russian scientist Dr. Dosiel has given the following postulates on the anatomical effect of music -----

• Music effects on the blood circulation.
• Music can maximize or minimize blood pressure.
• Frequency of heart beat may vary through the application of music.
• Amplitude, magnitude and tonal structures may effect on the blood pressure and frequency rate.

Today many music therapists follow Dosiel’s Theorem.

Indian or other Oriental music has better healing power in comparison to Western music. To justify the same two music therapists Charles Keele and Angeliki did an experiment. They divided some psychiatric patients into two groups. One group was exposed to Western music like the symphonies of Bach, Motzart, etc. and the other group was exposed to different ragas of Indian Classical Music. After the experiment it was found that the group exposed to Indian music responded more positively than the other group which helped in repairing of motor skills.

Western music is more systematic based on harmony and runs on fixed notes whereas Indian music is based on melody and more liberal. Improvisation is the basic characteristic of Indian music. Though notation systems are followed adherence to the notes are not fixed like western music. Musicians have enough freedom and their area of expression is much broader. Therefore, same raga may be rendered differently by different singers despite adhering to the rules of the raga. In Western music the role of improvisation is limited. Of course, Jazz is an exception to some extent. Russian scientist and musician Dr. Bokhaniski suggests the use of musical piece of Chopin to treat insomnia. While supporting the view Dr. Yung Hunter says that it also reduces physical pain. Dr. Herbert Spencer proved that fast music helps the patients with low blood pressure and the slow music with high blood pressure. Music has also positive effect on serious and last stage patients. Music is highly useful for the children with mental retardation.

Music therapists have a broad and diverse working ground. Music therapists have connection with everyone include children, adolescents, aged or old. Further, they have a challenging job with mentally retarded, visually impaired, deaf and dumb, criminals, addicted as well as normal ones. Even music has a great role to play in the world of sports.

Music therapy is a homogeneous combination of music, psychology, anatomy, audiology, computer and mathematics. Physiotherapy and Occupational therapy will be more effective if music therapy is associated with them. Sometime art, dance, drama and poetry are also taken as medium. By now in the west dance has emerged as a separate branch of therapy called ‘Dance Movement therapy’.

Other than classical music folk and traditional music has an inbuilt therapeutic element known to man since time immemorial. Man has been expressing his mind and feeling through music. He has the expertise in using music and traditional instruments in different occasions, be it birth, death, marriage, war, production of crops or to please the rain, thunder, sun and many other lesser gods.

Today there are dearth of researchers in the field of Music in true sense which, despite its being part and parcel of human life, is left neglected, undiscovered and unresearched due to lack of recognition as a field of higher scholastic achievement rather than a mere tool of entertainment. Therefore, I would like to invite scholars from different knowledge areas to come forward and use in depth potential and power of music to strengthen human knowledge so as to enable them to use the outcome result for the greater benefit of the human population.

Today music therapy is taught up to doctoral and post doctoral level in many universities and institutions around the world. Even in India, though lately, music therapy has been given place in Apollo Hospitals, AIIMS, etc. Even Apollo Chennai has introduced a one year post graduate diploma programme in Medical Music Therapy. Some other private trusts are also simultaneously working in this field including prestigious Nordoff-Robbins Music Therapy Centres, London who has a branch in India. Among the universities Madras University experimented with some music therapy projects with positive outcomes. Today Music Therapy can rightfully be considered as a branch of alternative medicine.

-by Ankur Deka