And, as this song tells us, one of their main anxieties is to get rain. Sometimes village folk meet and hold prayers for rain to come. This utter dependence on the rainfall is some thing peculiar to India.
It dominates the life of our people in a way that people in most countries find difficult to understand. But all peasants know how important rain is. Soft Rain, gently fall, In the house the plough neglected lies, In the burning sun the farmer dies, O Rain with laughing-face, come!
That is why at the end of the last chapter we said that manuring the land would lead to a crop three times as big as it yielded otherwise, if there was a good monsoon. We have seen what a great part the monsoon plays in providing our land with water, without which little would grow on it. That part is played in two ways: On the third day of the Tonatuni Festival, Tonatuni staged a dance drama Kabor adapted from the popular poem Kabor by Pallikobi Jasimuddin.
The dance drama starts with the effect of the dawn when the last lines of the Fazr Azan is heard. A very old grandfather comes on stage in feeble steps and starts telling his story to his grandson. The unhappy grandfather tells him about the five deaths in his family. He also recollects the memories of his getting married, the little bride's doll playing, the fair they attended, the bride's bathing with her friends and other insignificant yet happy moments of his life.
Directed by dancer Dipa Khondokar with light directions by famous light director of Kolkata Tapash Sen, the total performance was excellent.
Tonatuni Festival exhibits valuables of two legends of the subcontinent-- Satyajit Ray and poet Jasimuddin. With the ongoing cultural festival organised by Tonatuni, the National Museum has become an eventful rendezvous for visitors interested in Stayajit Ray and Jasimuddin.
An unprecedented exhibit of valuables, photographs and other interesting items of the two personalities has attracted hundreds of visitors. Simultaneously, films of Satyajit Ray are being screened at the museum's auditorium. The exhibition is being held at the Lalitakanta Bhattashali hall of the museum.
The most attractive part of the exhibition is surely the collection of costumes used in Satyajit Ray's films. What makes one wonder about the costumes is their artistic embellishment and grandeur.
The exhibition also consists panjabis displaying several of Satyajit Ray's illustrations from his famous Kheror Khata the Scrap Book being embroidered on them.
A panjabi shows the illustrious advancement of the genius of Satyajit Ray from Pather Panchali to his win of the Oscar award. Poet Jasimuddin's photographs show some eventful moments in the poet's life, his family members, and other acquaintances.
The ongoing Tonatuni Festival is holding an exhibition of photographs taken by Shakoor Majid that project a brief scenario of theatrical activities on stages in Dhaka. Entitled Rhythm on the Stage, the exhibit presents still pictures from selected 50 stage plays.
On the occasion, an album was also launched in the evening of September 13 at the National Museum auditorium. Shakoor Majid's photos generally depict some stories associated with his subjects--moments, people and objects.
Shakoor selects 'mute, intensive things and drab moments that in his treatment become evocative,' says Dhaka University's Professor Syed Manzoorul Islam.
I was a student of Gandaria Girl's School and the headmistress was Bashanti Guha Thakurata, who was very culturally inclined. Every year after the final exam there used to be a function where students got the chance to show their talents in performing arts. When I was in class five, Ajit Sanyal, who was one of the founders and a teacher of the newly established BAFA, was summoned to direct a dance drama called Ghumanto Rajkanya, in which I got the part of the cowboy.
The role attracted a lot of attention as well as accolades from those who attended the annual function," remembers Jhunu who at the insistence of Sanyal joined BAFA. Mannan was adamant that he would do Jasimuddin's Nakshikanthar Math. Though everyone else was skeptical about it, and thought it was not suitable for the audience of the city, he stuck to his resolve.
And after rehearsing for three long months it was staged in the then Eskander Mirza Hall, which is now the Engineers' Institute. The show was a resounding success," remembers Jhunu.
It is noteworthy that the drama was staged in the year , and at that period there were only six to seven students in the dance class. Mannan's acumen lay in the fact that he could sense who was fit for what role. The dance drama, staged for the first time, brought immediate renown for its director and the actors. We even visited Iran and Iraq to stage the same act.
It was in Iran that I earned the epithet of ballerina," recalls Jhunu. The main subject of his poem was the lives of the people of rural Bengal their simplicity, serenity, suffering, and various other aspects. Jasimuddin was born in the village of Tambulkhana of Faridpur District. He did his M. A in Bengali from Calcutta University and then worked on collecting Bengali folk songs.
I remember that in all my Bengali text books upto class twelve all the books contained at least one poem of Jasimuddin. The teaching of Bengali literature will be incomplete without Jasimuddin. Bangladesh is an agro based country. Although industrialization is now taking place majority of the people live in village and in one way or the other related to agriculture.
This is why agriculture and farmers are an important aspect of Bangladesh. Jasimuddin in his poet talked about their lives. My favorite poems of Jasimuddin are: In Nimontron Invitation the poet invites one of his friends to come and enjoy natural landscape of his village.
The village is a very beautiful place filled with abundant greeneries. There is a river flowing by the side of the village. The water of the river is very clean.
He proposes to his friends that they would hang around in the nearby woods wearing garlands made of wild flowers. They would go to the field and poet would meet him with the shepherds and they will play with them all day. Here the central character is a shepherd boy whom the poet is inviting to play with but he refuses to go and says that his work is his play.
Everyday before dawn he takes his wooden plough and go to the field he ploughs the land and then sow seeds and when new plants shoot out they look very beautiful. Sometimes when he feels tired he along with his fellow farmers sits under the shed of a tree and sing Murshidi songs a kind of folk song.
In the end the shepherd boy says, My work is my game and I like to play it. I play all day and forget to take rest. It shows the hardworking nature of the farmers who live a very simple life and work very hard to earn their livelihood and they are very happy with what they have.
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Kobor is a monologue of a farmer who is standing in front of the graves of his wife, son, daughter-in-law, and his daughter. Then the farmer describes his wife. A simple woman who was very content with his life and deeply loved his husband. It is a very emotional poem. I like this poem because the way the farmer talks reflects his loving and caring nature as a husband and a father.
Such love and devotion is a rare quality in the present day world. It is about two young persons: Rupai lives in one village and Shaju in another. One day Rupai went to collect bamboo bamboo is an important construction material in rural Bengal and then he saw Shajoo and Shajoo saw Rupai.
They fall in love with each other and eventually gets married. Then one day Rupai gets involved in a serious fight with a group of people in the conflict he killed one and on that night he came to see his wife, Shajoo. After that Shajoo waited for her husband to return but he never returns.
Shajoo loved her husband deeply and not seeing him for all these years made her very sad. She gave up eating and started to grow ill. The she decides to make a quilt. On the quilt she draws her house where she used to live with her husband and the beautiful field near the house.
By the time she finished the quilt she died. Before death she tells her mother to hang the quilt on a bamboo near her grave. Then after few months people of the village saw another old person lying on that grave. The whole story is very beautifully narrated.
It is divided in chapters and each chapter starts with a Murhsidi song. This poem was translated into English by Mrs. Jasimuddin loved the rural Bengal and all his life he wrote for them. The root of the word 'mysticism' lies in the word 'myein', which means 'to close eyes'.
The Bangla word of mysticism is 'moromibad' which means transcendentalism. The ultimate question of this metaphysical discipline is 'who am I? Asking 'who am I? The earliest specimen of Bangla literature of olden days is Charyapada, a thousand-year- old 'Buddha gaan and doha' Buddhist songs and couplets. Esoteric practice and mystic philosophy of Buddhism have found expression in them with the help of metaphors and allegories.
The philosophy of Buddhism has been enriched in them. Upon first hearing the language of the Charyapada, one understands its meaning in one superficial way. But when reflected upon, another esoteric meaning reveals itself.
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. Sojon, a Muslim youth, falls in love with his childhood friend, Duli, a Hindu girl.
Their affair sparks off tension between the two communities, and the duo elope. But in no time, Sojon is traced and imprisoned.
Duli is married off to a Hindu zamindar. But as fate has pre-ordained, their paths cross once again and they meet, but this time to give up their lives together for love. This simple and eternal tale of love is intricately woven with the larger reality of communal hatred and the petty political manipulations that go along with it.
It is this aspect of the play that makes it meaningful and contemporary. The form of the play is painted on a diverse and ethnic canvas. Folk music and diverse rural activities, including laathi khela, have been extensively used in this production.
Bamboo and traditional hand-painted patas contribute to the stage decor. Pallikabi village bard Jasimuddin was born on the first day of , and his birth centenary is being observed this year.
But is he merely a village bard or, like Robert Burns, a remarkable poet who challenged the rural-urban and rustic-refined divide? Both these ballads cross the prescribed limits of folk poetry.
In fact, they articulate a secular and humanist vision in a diction that is earth-sprung and elegant. The guiding spirit behind both these splendid productions is Gautam Halder, who has proved with his friends that Jasimuddin can inspire exciting theatre.
The closely-entwined personal and social layers, both equally intense in this dramatisation, convey the abiding message of love and revolt. While the Muslim village lad Sojon and his heartthrob Duli, a Nomosudra belle, trample barriers to come together, their village, Simultali, experiences bloody clashes between the two communities, engineered by the high-caste Hindu nayeb of the local landlord.
Ultimately, the star-crossed lovers choose death and their last act of defiance perpetuates the message of deathless harmony. Jasimuddin, who loved to infuse the lyric with the dramatic, would have loved two particular scenes.
In the first, Duli lovingly explains the Hindu and Muslim themes of her paintings to Sojon, in an atmosphere of conjugal warmth.
In the second, this syncretic ambience is shattered by the outbreak of sectarian vendetta. Incited by the crafty nayeb, fierce Nomosudras confront vengeful Muslims and their furious dance exposes the futility of it all. A fine excess of songs recreating the world of baul-bhatiyali-ajan-kirtan weaves the protesting, choric design.
We recall Sojon and Duli with a sense of special urgency in our divisive times. They impart the mantra of love and tolerance in world vitiated by the Talibans and Togadias.
But neither Jasimuddin nor Nandikar, anchored to the soil, have whitewashed the vitriol and violence ingrained in us. We confront their awesome might but then aspire for the resplendent Utopia from the sphere of our soiled lives. Going by sheer popularity, the current blockbuster that repudiates the supergroup idea as the only way to draw audiences comes from that tightly-knit and -run unit, Nandikar.
For Sojan Badiyar Ghat, you must book your seat days in advance. Part of the magic is the style that Nandikar has developed over the last few years: Plus, they go about it with such professionalism and precision choreography that one can only marvel at the discipline and intensive labour underlying what we see on stage.
Jasimuddin was a pioneering folk revivalist poet, who settled in East Pakistan after His verse has a simple, charming rural authenticity that gives it a near-pastoral feel, and many critics consider Sojan Badiyar Ghat as its acme. It tells of the love between a Muslim boy and Hindu girl, who elope, but he is jailed and she married off to a rich zamindar.
After his release, the story moves to a Romeo-and-Juliet-like conclusion. Without polemics, it pleads strongly for communal amity.
Both sing Halder also composed the music and the huge cast contributes to the colourful ensemble. Sanchayan Ghosh yet again designs impressive sets with bamboo ghats jutting into both flanks of the auditorium.
This is not the first time Halder has attempted Jasimuddin; he applied similar treatment to Nakshikanthar Math for Kalyani Natyacharcha Kendra in Nandikar, a year-old theatre group from Kolkata, has visited Bangalore a number of times in recent years.
They were back recently with three productions, two of which were performed for the ongoing national theatre festival at Rangashankara. The first play, staged by the group on November 5, was at Ambedkar Bhavan for the Bengali Association. Jasimuddin was a disciple of Nazrul, whose poetry and songs are an integral part of the Bengali cultural fabric.
The literature is 80 years old, but the concerns raised by it remain as topical as ever. Their love affair sparks communal tension and the two elope. Fate plays a cruel twist. Sojon is imprisoned and Duli married off to a rich Hindu zamindar. After a passage of time, they meet again, only to give up their lives on the banks of a river. Having a cast of over 35, the chorus of singers and dancers are as significant as the lead played with great verve and conviction by Gautam Halder and Sohini Haldar.
A production like this lends itself to a lot of stylisation and director Rudra Prasad Sengupta does ample justice. The play has seen numerous avatars across the world and has also been made into an Academy nominated film.
The adaptation is very basic - Shanu like Shirley is confined to an existence where her only emotional anchors are the walls of her kitchen.
Only the setting has changed to Kolkata. She fries luchi and makes aloo dum instead of egg and chips. She goes for a holiday to Kathmandu instead of Greece. The simplicity of the adaptation also works against it. When Shanu meets her hooker friend over coffee in a cafe, a false note is struck. The sense of unreality is compounded as the play progresses.
Which Indian housewife would risk standing at the window of her house and yell to her daughter that she is going for a holiday just to have sex with her lover. This is not to say that Indian housewives are any less oppressed than their counterparts anywhere in the world.
But surely the context is different and so are the modes of expression. It leads the viewer to a fundamental question - Is it fair for great works of literature to be decontextualised and offered to a foreign audience under the guise of an adaptation? Shanu RoyChowdhury is redeemed in the final analysis by the performance of Swatilekha Sengupta.
She is brilliant, playing it with the right mix of pathos and humour. Together with Willy Russell, she gives the audience a character they can go home with. The simple folk tale centres around a peasant youth, Rupa, who fell in love with a girl from his neighbouring village and they got married.
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But bitter sorrow followed them. Rupa left hearth and home, was forced to flee far away. The young wife waited every day with expectant, bated breath. False hopes fed her; long days passed; she pined away to death. The story, in a nutshell, is this simple, but as director Goutam Halder says, every return to the poem confronted him with the overwhelming quest for a theatrical form that would adequately express this realisation.
Was this poem a synthesis of all these and much more? The Telegraph, Calcutta, India, April 29, Historically Bengal has a very rich cultural heritage. Bengal is, indeed, noted for its rich culture in songs, music, drama, dances and language. Its indigenous style of music, art, dance and drama is very rich.
Bengali is one of the oldest languages in the world.
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According to statistics, jointly with Spanish, Bengali is the fourth largest language group in the world, only surpassed by Chinese, English and Hindi It is the first of Indian languages to develop western style secular fiction and drama.
It originated from the Indo-Aryan family of languages in the 7th century, thus making it comparable to English, French and German. Bengali language is much older than Hindi Urdu and even Portugese, Spanish and many other established modern languages. In the middle ages, Bengali was already a well-established language with popular poets like Bidyapati, Chandidas, Daulat Kazi and Alawol.
It was during this period of middle ages that the famous Indian epics Ramayana and Mahabharata were translated in lyric forms from sanskrit into Bengali by Krittibas and Kashiram Das respectively. This period also saw a rich output of romantic songs, poems and dance centering around the love of Radha and Krishna.
These were simply superb in their wording, rhythm and style. However, things started changing rapidly about years ago. With the emergence of some great personalities like Iswar Chandra Vidyasagar , Michael Madhusudan Datta and Bankim Chatterjee Bengali language and literature really got a new life.
These two great Bengali poets have actually initiated a new era for Bengali language and culture. Tagore represented this new era of cultural modernisation; others followed him almost as disciples.
Palli Kabi Jasimuddin was also one of them. Tagore was urban, sophisticated and universal; Nazrul exhibited his spirit of protest and opposition to all social injustice, discrimination, oppression and exploitation while Jasimuddin vastly remained rural and provincial in his approach.
Their common bond was their liberal outlook for secular Bengali culture. Music, songs, drama and dances are also part of rich Benali culture and there are three mainstreams of these Bengali Culture: Folk music mainly based is rural Bengal.
It has been nurtured by the village singers, musicians, actors and dancers. With sweet melodies, touching words of love, tragedy and devotion, folk music is the most popular form of music in all over Bengal.
The best known forms of folk music are bhatiali, baul, bhawaia, jaari, marfati and murshidi. On the other hand, the pioneers of modern Bengali music were, indeed, the world famous Nobel Laureate poet Rabindranath Tagore and the rebel poet Kazi Nazrul Islam.
Tagore initiated a blend of East and West and Nazrul experimented with the synthesis of folk and middle eastern strains. Bengal also shares the rich tradition of classical music of the subcontinent.
Indeed, Bengal has produced many musicians and maestros of international repute like Ustad Alauddin Khan, Ustad Ali Akbar Khan and Pandit Ravi Shankar who have successfully made sitar and sarode popular all over the world. Before I conclude let me describe a few words about the musical instruments which are also playing vital roles to promote the rich Bengali culture and its excellence.
Even now a large number of people in the villages of Bangladesh, West Bengal and Tripura regularly listen to the folk drama called Jatra and the age old melodic folk songs. Bengali Performing Arts' aim is to promote this rich Bengali cultural heritage and its excellence by organising year-round quality cultural programmes and to make it more and more familiar which, I believe, help in enriching our mulit-cultural society in a cosmopolitan Scotland.
Bengali Performing Arts, glasgow, April 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.
I read the poem with growing excitement and have returned to ist again and agiain to be delighted by its simplicity, its charm, and its deep humanity.
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 B.
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From time to time Bangladesh searches for its roots as if trying to put back the missing part of long history. In the search for these roots we must look its poetry.
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The mind is a tree, the five senses are its branches. Hope bears fruits and leaves abundance. One who does not know the mystery Of this tree's growth and destruction. Fool is he to have to come back again and again In the Samsara to receive pain.
Order Your Book from: Palash Prakashani 10, Kabi Jasimuddin Rd. He is survived by two sons and six daughters. He was buried at his family graveyard today. In his well-read article at primary level textbook, Poet Jasimuddin wrote " Gani Mia ekjon garib krisha k" means "Gani Mia is a poor farmer".
Gani Mia became a well-known character to all through the story of Kabi Jasimuddin, who successfully projected the struggling life of marginal farmers living in remote Bangladesh. In real life, struggler Gani Mia managed to purchase four bighas of land of his own and spent the rest of his life as a self-dependent man.
He was always found busy in his farmland cultivating paddy, jute, beans, cabbage, vegetables and other crops round the year. Bangladesh Television aired a documentary on him on March 22 in The Bangladesh Observer June 25, We are rich with the literary gift from three talents: They are unique in their own world of art.
Not only in poetry, but they are also distinct bright stars in the world of melody. Jasimuddin created his own world of music in folk style just as Tagore created his world in Dhrupadi and Nazrul in Kheyal.
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But it's a matter of regret that still we do not have an institute to remember and practice the art of our beloved Pallikobi, the speakers menioned in a meeting observing the th birth anniversary of Pallikobi Jasimuddin by the Nazrul Academy at Moghbazar on June The programme was presided over by Hasna Moudud, daughter of the poet and an executive member the Academy.
Mayor Sadek hossain Khoka guaranteed to hand over the land on which the Academy is situated to the academy. The most important event of the occasion was handing over of the two recently discovered handwritten poems of the Pallikobi by Asadul Haque collected from one of his relatives.
Until then this manuscript was unfamiliar even to the poet's family, said Hasna Moudud. Top of page Home. Pesticide contamination of ground water is a subject of national importance Improving public sanitation and providing a clean water supply are the two steps needed to prevent most water-born diseases and deaths. Source water protection works by involving all members of the community and citizens can voice their support for controlling the use of land and water This book was targeted under the project "Environment Consciousness Education" to students and teachers of Faridpur rural area in Dr Jamal Anwar said lands Dr Jamal Anwar said lands within dikes or embankments showed a picture that crops grown inside the embankment is less yielding compared to crops grown outside the barrier.
It is one of the main sponsors and the main organizer of Bangladesh Mathematics Olympiad. Prothom Alo publishes a special edition every year at Eid ul-Fitr.
Matiur Rahman is the current and the first editor of the newspaper. He is regarded as one of the most influential and secular journalists in Bangladesh, with a profound background in media, journalism and human development activities. Famous columnists regularly authors columns for Prothom Alo.
Popular writer and columnist Muhammad Zafar Iqbal regularly contributes under his famous column "Shadashidhe Kotha".
Prothom Alo faced various protests by Islamic organizations and fundamentalists. A threat was given after Prothom Alo opposed unregistered religious institution called Kowmi Madrassa and accused them for organizing crimes and provide combat training to their students.
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- 2. Jasimuddin (1904-1976) poet and litterateur.
A subsequent order was given from the government to ban the supplement for an indefinite period of time after rallies were held by pan-national Islamic group Hizb ut Tahrir. In , the newspaper established the Prothom Alo Aid Fund to help people who are victims of attacks with acid, which frequently cause disfigurement.
