1. How did you start the profession of a flute player?
It is quite tough to find a guy who has never touched a flute in his young age. In fact, I never thought of becoming a flute player professionally. I was touched by the rhythm that a flute creates and came to use it playfully. I had my education on sound beforehand that, I think, created my passion for flute.
2. When did you decide to be a professional flute player?
Previously, I was learning technical software. Later on, in 1997 I came in touch with a classical flute. At first, I was confused whether my system of griping the flute was correct or not. But I was confident that I can really learn it well. It was my confidence that paved my way to be a flute player.
3. Did you face any major constraint in the process?
Actually, my parents never wanted me to become a flute player. Besides, the socio-cultural structure of our society does not encourage flute playing as a profession since it is considered as a lower category profession. The social or family expectation stands on the way of someone's intention of taking his passion as profession.
4. What else did you learn except flute?
After my S.S.C. examination in 1985, I started learning Tabla from Khandaker Khairul Anam, a student of famous Ustad of the Indian subcontinent, Shakhaowat Hussain. Under his guidance, I played tabla for eight years at a stretch. Then I learned to play tabla from Ustad Akram Kha from Delhi for a short period.
5. Why classical flute became your choice rather than any other types?
I am often asked this question. Since the flute is a folk piece of our culture, it has remained aloof from the upper class of our society. Traditionally, the flute was believed to be played with songs. Playing flute with songs brings a lot of money than the classical flute playing does. Therefore, even our flute players choose not to be a classical flute player. In my case, my sole purpose was to enjoy the rhythm of classical flute, to nurture my passion. Since I did not have to think about money, I could easily choose classical flute.
6. What are your initiatives to spread this in our society? How do you contribute to this sector?
I teach flute. I have twenty three students at present. Besides, my book named “Shahaj Bashi Sheekkhya” is the first flute learning book in Bangladesh. I think this can help people who are thinking of flute playing. Moreover, I also make flutes on my own and sell them at home and abroad. I've sold my flutes in Delhi, India and to a museum on musical instruments at Arizona, America. I think my experience and learning can help the people.
7. What are the present conditions and future prospects of flute in our country?
I think many young men are interested in flute in recent days. Since flute playing is not considered a prestigious thing to learn in our society, they cannot take it as a profession. Unlike many other musical instruments, the flute should given social nourishment and support. Chayanaut has introduced a department for flute recently which I think is a praiseworthy initiative. This institutional platform can play a vital role in this particular aspect. Again, it is tough to learn flute in academia with so many students. Moreover, the guides who teach flute in our country are not very efficient and knowledgeable.
8. What are your inspirations in this profession?
I am highly optimistic about the changing scenario of our country. I think people have accepted the classical form of flute playing and I can work in places at present. I find inspiration in my work and my passion to it. Besides, the audience support in recent days in a good sign for me.
9. What is your feelings regarding this sector?
I think many people and institutions are getting involved in this sector recently. This is a good sign for us and our culture. The more people get involved, the more can we improve in this sector. The involvement of 'Bengal Foundation', 'The Daily Star' and few other institutions can play a vital role here. I see that the popularity and possibility of flute is increasing among the mass. However, we should evaluate the experienced and worthy persons involved in the sector. Besides, we need to come out of our prior psychological structure regarding the rules and regulation of flute playing. A flute player should be given the scope to go on his own rhythm and feelings and just be spontaneous.
10. What are your suggestions for young learners?
I would like to welcome young learners. They should keep in mind the basic rules and norms of flute playing. One can improve his condition through much dedication and proper effort. I think flute is an instrument to feel from within. Anyone who can show patience and dedication can go a long way.