In the lowlands of northern Bangladesh, where the Brahmaputra weaves its ancient path and songs echo across open fields, a quiet fight to preserve cultural memory is underway. Tucked inside a modest tin-roofed building in Kurigram's Ulipur upazila, the Bhawaiya Academy has been nurturing the roots of a rich musical and rural tradition for over three decades. What started as a community effort to teach folk music has grown into something far more ambitious: a museum of living memory.

Named the Kasim Uddin Lokoshilpo Jadughar, after the legendary Bhawaiya singer who carried the songs of the north to global audiences, the museum now shelters nearly 2,000 artefacts that once defined agrarian life in Bengal. But far from a grand institution, the collection teeters under threat, crammed into overcrowded verandas and classrooms, slowly decaying from lack of space and funding. Still, from across the country, visitors come—drawn not just by nostalgia, but by a deep desire to connect with a vanishing way of life.

More than a hundred rare tools and instruments are on display: agricultural tools like wooden ploughs, yokes, and kursi (a farming implement), bull-driving sticks, korail kurals (small axes), bakuas (bamboo shoulder poles), topas (bamboo hats worn by farmers), winnowing fans (kula and jhapi), and pesta—circular head supports used to carry heavy loads.

Traditional paddy processing items such as urun-gen and paat are exhibited alongside fishing gear like barsi, darki, deru, palo, and chak. Baskets for storing fish like khalai and jina, musical instruments like the dotara, sarinda, dhol, and banshi, and even wooden sandals (kharam) are all preserved—many of which are mentioned by name in Bhawaiya songs, maintaining their original northern dialect.

At the heart of this endeavour is Bhupati Bhusan Barma, a retired schoolteacher from Duragpur High School in Ulipur and a celebrated Bhawaiya singer and researcher. Since 1993, Bhupati has single-handedly collected and preserved these relics of rural life. Having performed Bhawaiya across India and abroad, he envisioned a museum that would reconnect the modern generation with their roots—not just through music, but through the tangible heritage behind the melodies.

Bhupati Bhusan Barma, retired schoolteacher, renowned Bhawaiya singer and researcher, and founder of the Bhawaiya Academy in Ulipur.

"These are not just items," he told The Daily Star. "They are reflections of our identity and history. People may hear the songs, but through these objects, they can see the life behind the lyrics."

Explaining the naming of the museum, he added, "We could do very little to honour Kasim Uddin during his lifetime. Naming the museum after him is our humble tribute to a man who gave Bhawaiya its rightful place on the world stage."

Yet despite its growing collection and cultural importance, the museum suffers from a critical limitation—lack of infrastructure. "We have no proper space," Bhupati lamented. "Artefacts are stored in classrooms and verandas. Many are damaged or at risk of being lost forever. We need a multi-storey building to preserve this heritage, but we simply don't have the funds," he said.

The Bhawaiya Academy's journey began in 1994, when then-chairman of Duragpur Union Parishad, Golep Uddin Sarkar, donated five decimals of land. With local and limited government support, a tin-roof structure was built and the academy began offering free training in five disciplines: Bhawaiya vocals, dotara, sarinda, dhol, and bamboo flute. Bhupati and seven other volunteers conduct weekly classes every Thursday and Friday. Currently, around 40 students attend regularly, and over 2,500 have benefited from the academy over the years.

The Bhawaiya Academy has not only preserved artefacts and melodies—it has also transformed lives.

Putul Rani, now a listed Bhawaiya singer with Bangladesh Television (BTV) and Bangladesh Betar, shared how the academy shaped her journey.

"The Bhawaiya Academy gave me a new life," she told The Daily Star. "Through the training I received here, I am now a performer on both television and radio. I'm regularly invited to sing on major stages across the country."

Putul also voiced concern over the preservation of the academy's collection:

"Bhawaiya is deeply intertwined with various traditions and objects that are now disappearing. Our mentor, Bhupati Bhusan Barma, has spent years collecting them. But due to lack of space, they're left on the academy's verandas. Proper preservation is urgently needed."

Jagatpati Barma, a music instructor at the academy, emphasised the passion driving their mission. "There are eight of us who teach music here—all on a voluntary basis. We train students in Bhawaiya singing and how to play traditional Bangla instruments. We are building artists with the hope of keeping Bhawaiya alive." He added, "But preserving the instruments and heritage linked to Bhawaiya also matters. And for that, we need patronage and support."

The museum now stands as a lone guardian of a fading legacy. If given proper support, it could become a cornerstone of northern Bangladesh's cultural preservation, inspiring future generations to take pride in their roots," he said.

Even the youngest learners understand the academy's impact. Prodipto Barma Tullo, a student in Class Eight, is already performing on stage. "I'm learning to play the dotara here. I've already been invited to perform at various events. I dream of becoming a renowned dotara player someday," he said, adding, "We don't have to pay any fees for training here. Many like me are learning free of cost."

Visitors to the Bhawaiya Academy often leave with a deep emotional impression—moved not just by the music, but by the cultural treasure trove that surrounds it. Shirin Khatun, a Bhawaiya singer visiting from Rangpur, was overwhelmed by what she witnessed. "I was deeply moved by the work being done at the Ulipur Bhawaiya Academy," she told The Daily Star. "The collection of heritage and traditional items here is truly historic. But it pains me to see them not properly preserved." She stressed the importance of protecting the legacy for future generations.

S Dilip Roy is a journalist at The Daily Star.