Role of Rabindra Sangeet in inspiring nationalist movements

Papiya Sarwar (L) and Mita Huq (R)

Both grew up in music-filled households. During their early childhood, they learned the intricacies of melody at home. Today they are considered iconic singers of Rabindra Sangeet and their names have become synonymous with the genre. They are none other than Papiya Sarwar and Mita Huq and they require no further introduction.
In conversations with The Daily Star, they provided glimpses of their lives as well as the role of Tagore songs in inspiring the Bangla Language Movement in 1952 and the events that followed.
Papiya Sarwar says, “I don't actually remember the exact moment when I started learning music. I was raised in an atmosphere where the air was thick with the sounds of tabla, mouth organ, flute, harmonium and sarod.”
Her maternal grandfather, Hafizuddin Ahmed, was a songwriter, composer and singer. “He used to inspire me constantly,” Papiya recalls fondly. Later she was taught by maestros like Pandit Dhrubotara Joshi, Kanika Bandyopadhyay, Nilima Sen and many more.
“I don't know why I chose Tagore songs. I think I fell in love with the richness and depth of the songs,” she says. Papiya's latest album, “Purno Chander Maya-e” is an assortment of Tagore's creations.
Mita Huq's response resonate with her predecessors'. With gurus like Wahidul Haque and Sanjida Khatun in the family, Mita learned music at home. Proud mother of Farhin Khan Joyita, a talented young Rabindra Sangeet artiste, Mita works on a tight schedule. She performed at the “Bengal ITC-SRA Bangla Gaaner Utshab” held recently in Kolkata (India) and will be completing a CD recording.
On the indirect influence of Tagore on Ekushey February and the struggle for independence, Mita says, “When he was 25 years old, Tagore wrote, 'Amaye bolo na hashitay bolo na'. It was an expression of sadness and disappointment roused by the aftermath of World War and colonialism.”
His shock at the arrogance of the British in ordering the partition of Bengal and the savage repression unleashed on those protesting against the move was vividly portrayed in his novel “Ghorey Bairey”.
“His work not only inspired India to win its freedom from the shackles of British imperialism but seeped into the veins of our Language Movement in 1952,” Mita says, adding, “When Monayem Khan, the infamous governor of East Pakistan banned Tagore songs, people were aghast, because those people were Bengalis by heart.”
“Amar Shonar Bangla”, “Aaji Bangladesher Hridoy Hotey”, “Banglar Mati Banglar Jol” and many other songs are etched in the hearts of Bengalis as evidence of the poet's love for Bangladesh, its people and its language.
Both the artistes stressed the need for the media to play a vital role in promoting the rich diversity of Rabindra Sangeet among the younger generation.