Music from Assam:The land of Tea & Music - Page 4

Created

Last reply

Replies

43

Views

14.7k

Users

15

Likes

8

Frequent Posters

vinnie-thepooh thumbnail
19th Anniversary Thumbnail Rocker Thumbnail Engager Level 1 Thumbnail
Posted: 18 years ago
#31


CLASSICAL DANCE

Heritage of Classical dance in Assam is of remote origin. In Assamese dances, Hastas (hand gestures), Shirokarma (movement of the head), Padachari (foot work), Karana (posture), etc are performed after the manner of Natya Shastra or Sanskrit treatises on dance. The foot-work in an Assamese classical dance is extremely intricate and is called "Gati" or "Belan". It always reflects the theme of the dance in its infinite variation, speed and pattern. There are "Hasti Bulan", i.e. the slow majestic steps of the elephant, "Ghora Bulan", i.e. the swift galloping steps of the horse, "Maira Bulan", i.e. the majestic steps of a peacock and so on. There are several kinds of "Karanas" or "Bhanges", i.e. poses of the body in an Assamese dance. They are expressive of meaning and require to be mastered by long practice. Those postures of the body accompany the movements of the head, neck, eyes and feet. The mastery of the movements is a matter of long practice under expert guidance. The hand gestures is called "Hasta", commonly known as Mudras. They are performed either with a single hand (Asanguta Hasta) or with both the hands (Sanjuta Hasta). Those gestures that are expressive of meaning are called "Shree Hastas" and those performed only for the sake of beauty and rhythm are called "Nritta Hastas". The combination of all the Hastas will be nearly one hundred.

Edited by vinnie-thepooh - 18 years ago
vinnie-thepooh thumbnail
19th Anniversary Thumbnail Rocker Thumbnail Engager Level 1 Thumbnail
Posted: 18 years ago
#32

MUSICAL INSTRUMENTS

Among percussion instruments, the important ones are the dhol, nagara, daba, khol, mridanga, jaidhol etc. The dhol, the common drum, is used in Bihu dance. Taka, a simple instrument of a piece of bamboo-tube split from one side, is beaten to keep time measurement in Bihu song and dance. Others are generally used in religious functions, the khol being the principal tala instrument for Vaishnava music. Jaidhol is also used in wedding ceremonies. Khanjari, small and light and a combination of drum and cymbals, also belongs to this class.

Wind instruments (Susir) used for Assamese folk music are the flute, the Ciphung bahi of the Bodos, the kali, the pepa, the singa and the gagana. The Ciphung is a long bamboo flute played at Bodo festivals. Kali, like its more developed version the sehnai, is played in wedding ceremonies. The singa, from sing (horn) is made of a buffalo horn with a little bamboo pipe thrust into it, some hill-folk use an ox-horn also. Pepa, inseparable from the Bihu festival, is in fact only a reed-pipe which is usually connected to a buffalo-horn. Gagana is a small, split-bamboo instrument, very finely cut and delicate. It is played by young women by holding it between the teeth, striking with the right forefinger, allowing the wind to pass as and when necessary.

The stringed instruments (tala) used by villagers are the tokari, the been and the serja or serenda. The Tokari, played like an ektara or a sitar, is widely used by folk singers and also by wandering minstrels who sing mystic songs like Deh Bicarar Geets. The sarod-like serenda is a Bodo instrument played with a bow. Been is also played with a bow, it is an evening companion of village youths who may roam about playing lilting folk-tunes. Of the Ghana classes the most important is the tal (cymbals) which has many a ramification like bhortal, khutital, karatal, mandira etc. Bhortal, the largest pair of cymbals, used by the Vaishnavas, is reputed to have been imported from the Bhotas or Bhutias. The tiniest, the Khutital, is played by Oja-Pali performers Kah, a flat bell, and ghanta, sounded during the progress of a worship, fall under the ghana class.

Edited by vinnie-thepooh - 18 years ago
Qwest thumbnail
19th Anniversary Thumbnail Rocker Thumbnail Networker 1 Thumbnail
Posted: 18 years ago
#33
HERITAGE & CULTURE

The heritage and culture of Barpeta District is predominated by the remarkable work of the great Assamese renaissance figure and reformer Mahapurush Shrimanta Sankardeva who laid the foundation of Assamese culture and heritage in and around the district. Subsequently the great saints disciples namely Madhabdev, Haridev, Damodardev and their devotees followed the good-works of the great figure.
:

A good number of Satras was founded by these great saints that are considered regio-cultural institutions or monastries that created deep impact in the Society, polity, economy etc.in the region. Although the Satra institutions were established for the propagation of Vaishnavite faith but with passage of time these institutions gradually transformed into open universities to become all-embracing socio-cultural centres covering numerous subject including education, music,dance, sculpture ,drama, fine-art, Ivory-works etc.

Some of the important satras are-

    Patbaushi Ganakkuchi Jania Sundaridia Barpeta Baradi
  1. Kanara
SATRA: The Satra at Patbaushi was established by Shrimanta Sankardeva. His Vaishnava faith was spread by the guru's able disciples Shri Madhav Deva, Shri Damodar Deva and Shri Hari Deva. It was from this satra that Srimanta Sankardeva spread his faith, literature, music art-forms, culture and work-culture to its fullest form. Here the guru spent 18 years of his life with remarkable achievement including completion of the 'Kirtan Ghosa' and composition of 20 number of invaluable Borgeets. Some of the items used by these Gurus and Sachipat puthis are well-preserved here. The Satra is located about 2 K.Ms North of the Barpeta town.
    SATRA: This satra was founded by Sri Madhab Deva for which the land was purchased by Shrimanta Sankardeva for 1 Tola (about 10gm) Gold and nominated his close disciple Shri Madhab Deva as the satradhikar to stay here to spread his faith and he went on to stay here for 18 long years. Some of the items used by the guru and Sachipat puthis are well-preserved here. The Satra is located within the Barpeta town area.
    SATRA: This Satra was established by Sankardeva's disciple Shri Narayan Das Thakur Ata. He composed a large number of devotional songs here. This Satras located at a distance of 8 K.M. from Barpeta in Barpeta Jania Road,
    SATRA: The Satra was established by Shri Madhab Deva after leaving Ganakkuchi Satra. The first satradhikar of Barpeta Satra Sri Mathura Das Burha Ata initially come to this Satra and became a disciple of Shri Madhab Deva. It was here that Paal Nam and Beer Nam or Thiya Nam was created by sri Madhab Deva. A large number of items used by the guru including Sachipat-puthis are preserved here.
    SATRA: Sri Madhab Deva founded the Barpeta Satra and stayed here for 8 long years. Here he appointed Sri Mathura Das Burha Ata as the first Satradhikar of the Satra. It was Burha Ata who systematised the administration of the Satra leading to development of the institution and the region of Barpeta. A democratic system was introduced which is effective till today. Large number of followers came to Barpeta & accepted the Vaishnava faith irrespective of their caste high or low that created an egalitarian Society. A new work culture developed among the followers. The Satra has several buildings. The front gate is called 'Batsora'. The main 'Kirtanghar' is where prayers or 'Nam Kirtan' are performed is an architectural splendour. Earlier built as a Kutcha house was concretised with big-pillars in 1952 with decorative wall paintings. All the 'bhakats' or 'devotees' discussed all kinds of problems in the Jagmohan Ghar. In the 'Bhajghar' a lamp is continously burning for more than 400 years that is called 'Akhay Banti'. Sri Krishna Doul festival is organised at the premises of Doul ghar. There is a small zoo and small 'rangial' garden. Within the premises a cultural school, Keli kadam tree,Shri Shri Mathura Das Burha Ata Library, study-room, office and kitchen are also located. Constitution formulated by Sri Mathura Das Ata is still in vogue.
    SATA: This satra was also established by Sri Madhab Deva and stayed here for a very short period.The Sankarite culture spread far and wide from Baradi making it a centre for learning. The place is located about 2.K.M. east of Barpeta town.
    : Established by Sri Sri Narayan Das Thakur Ata. This Satra is damaged by natural calamaties. Floods creates problem for running the Satra. As a result the original habitants of this place shifted to Gajia and Ganakkuchi in Barpeta. The Satra is located at a distance of 16 K.M. from Barpeta.
Edited by Qwest - 18 years ago
Qwest thumbnail
19th Anniversary Thumbnail Rocker Thumbnail Networker 1 Thumbnail
Posted: 18 years ago
#34

:

The Barpeta District is rich in cultural art from both ethnic and non-ethnic. The great cultural ambassador Srimanta Sankardeva contributed a great deal in creating different art forms that became integral part of Assamese culture

        BORGEET: Devotional songs composed by Shrimanta Sankardeva are still popular in this region.

        ANKIYA GEET: Shrimanta Sankardeva composed ankiyageet for ankiya-nats or plays. These are sung on special occessions like Doul festival,anniverseries of the two gurus and other festivals.

        HOLI GEET: Holigeet are the unique form of chorus songs that originated in Barpeta satra and spread throughout the state. These are sung during the Doul festival.

        LOKA GEET: Kamrupi Loka geet is popular form of folk music that expresses thoughts and emotion of the common people. These songs are sung from time immemorial by various people of earstwhile undivided Kamrup district. Beside this various forms of songs linking the day to day activites are also popular like biya(marriage) geet,now khelor(boat race) geet, maha-kheda (mosquito driveout)geet, lora-dhemalir(child's play)geet, boroshibowa (fishing) geet, nisukoni (lallabye)geet and various forms of bihu geet.

        DANCES: Devadasi nritya was performed at Pari Hareswar Devalaya in Bajali. Deodhani nritya is another form that was popular during middle ages. Shrimanta Sankdardeva popularised the Satriya nritya among the common people. Other dance form that the guru popularised are Krishna nritya, Kalidaman nritya, Dasavatara nritya, Jhumura nritya, Sali nritya, Sutradhari nritya, Gopi nritya Raja Nritya, Rani nritya etc. which were performed in the Satras. Ojapali is a popular dance form among the people.

      1. DRAMA & THEATRE: Sankardeva popularised 'Bhaona' or mythological plays that became centre of attraction from the common masses. Colourful dresses were worn on the occassion by the participants. The modern dance form became popular with spreading of dramas. These dramas resulted in formation of professional theatre groups in and around Pathsala region leaving behind an unique cultural legacy. Large number of professional theatre group enjoy popularity among the people in every hook & corner of Assam. Theatre groups like Nataraj, Kohinoor, Abahan, and Aradhana from Pathsala has not only carved out a niche but also revolutionised this medium despite challange from Cinema Halls.



Edited by Qwest - 18 years ago
leoni thumbnail
19th Anniversary Thumbnail Voyager Thumbnail
Posted: 18 years ago
#35
👏 Thnx to all my friends who came forward to share and contribute their information's in this thread to made it interesting........ and a big heartiest Thnx to Barnali di for opening this lovely thread. 👏
Barnali thumbnail
20th Anniversary Thumbnail Rocker Thumbnail + 2
Posted: 18 years ago
#36

Originally posted by: egghatcher

id like to roll fold and pack Barnali for a month and take her away from the forum so that i can pick her brains and extract all these wonderful treatises she trickles out one by one..... I am an impatient person 😆 need to know it all right now
Any objections IF DEVTEAM? 😛

😆😆 okay next one Mother Hen.

Remembering
Rudra Barua

by Manjit Kumar Sarma

I have never met him, have never even talked to him. But still, I feel I know the man, know what he felt and the way he wanted the Assamese people to forge Assam's destiny. Maybe, this is not only me but all these who have gone through his songs will enumerate the same anecdote. Those who knew him as a person, might have some other story to recount, but for innumerable fans including me, he is simply -- magic. And perhaps the underlying impulse within his every number, that thrive to stimulate a sense of nationalism and oneness among the aboriginal of the region and that which are presented in an impromptu, casual manner was what his magic all about. To quote noted writer Sri Chandra Prasad Saikia, "His songs carry the glories of the great Assamese history and tradition, which continue to enable the Assamese people to face the new day, fearlessly and confidently". O bandhu, somoi pale
Amaar phale ebar aahi jaaba
Sahaj saral gawar jeevan
Khyantek roi saba.
Jan bahaanar sujog naai
Auhotiya amaar thai
Baat bolote hoito bandhu Anek dukhei paba
Ebar ahi jaaba ...
The prototypical Rudra Barua numbers like this one has for decades enthralled people across the valleys and the plains and still continue to bridge the gap between the rural and urban populace. Every time one listens to his numbers floating in from the radio, they are bound to feel like having understood the man more closely, than ever. Paka dhanar maje maje
Soru soru ali oi, soru soru ali
Alit pori geet jore jakk balimahi
Heem sesa botah ahi dhaan gole sumi
Dawaniya halot kachi khorai lole tuli Soru soru ali ...
Centered around the innocence of the rural populace and their humble lifestyle, Rudra Barua's songs are some of the finest offerings in the field of Assamese music. However, somebody on the very first hearing may tend to classify his songs as magnificent imagination and soulful fantasy only, but the truth is that they are not. Infact his songs were born out of his closest attachment with the rural background of Assam, an attachment that began from the banks of the river Kollong. Musician, writer, actor, promoter and above all a great singer, who is known as the kollongparia geetikaar, Rudra Barua was born in the year 1926 at Bhimor village near Puranigudam in the district of Nagaon. Unfortunately, when his father Barada Kanta Barua predeceased wife Hiralata Barua and two daughters, Rudra Barua was only nine. For the next couple of decades, the family had to pass through some real tough times. Because of financial hardship, Rudra Barua could not excel in his academic life. He had to do very hard labour but somehow he managed to continue his studies. And weathering all these storms, he started to write songs while he was only at the eight standard. The sankari culture and tradition, as was prevalent in the then undivided Nagaon district swayed him immensely and this was when a desire to start a career in culture took place within him. Since his childhood he used to take part in most of the religious and cultural ceremonies of the area that included Bhoana, Naam Prasanga to the auspicious Tithi Ustav (birth and death anniversary) of the great Vaishnavaite saint Sankardeva as well as Madhavdeva. He began his college education at the Nagaon town, where luckily, he got financial help from a number of well to do families of the town. And it happened only because of his decency and his prized quality that empowered him to sing beautifully. He started singing his songs in most of the functions organised in Nagaon which made him popular day by day. Within that time he began acting too. The local Amolapatty Natya Mandir used to be a prestigious platform for showcasing skills of cultural excellence and it was where Rudra Barua found a secure home for portraying his talents. Slowly, he came in contract with some of the noted actors of that period like Chandra Phukan, Sarada Bardoloi and others. When he passed the IA exam in 1947 he had to proceed for Shillong as the then capital town of Assam was a glittering land of hope. Immediately, he got a job through one of his relatives living in Shillong but he didn't stop his education and got himself admitted into the night shift of the St Anthony's College. By the time he completed his graduation in 1951 he had became an active cultural worker of Shillong being member of various organisations such as the Shillong Kola Porishad, Shrimanta Sankardev Natya Samaj, Shillong Mukul Sangha, Shreemanta Sankardev Kristi Kendra (Bishnupur), Laban Namghar, Asomiya Namghar (Jail Road), Madhavdev Namghar and others. His popularity among the senior and respected Assamese citizens of Shillong also increased within these time and apart from them he also got influenced by some of the greatest exponents of the Sankari culture of that period like late Jiveshwar Goswami, late Girikanta Mahanta and others, whose guidance enabled him to know more about the great Sankari culture. As an active member and grassroot worker of Shillong Kola Porishad, Rudra Barua took part in numerous dramas, Bhoanas and dance dramas and even went to far off places of the country for participating in various festivals. Later, when the capital of Assam was shifted to Guwahati, Shillong Kola Porishad too had to be shifted to Guwahati and Rudra Barua also joined the cultural department and settled down in Guwahati. But, the memories of Shillong, of its colourful people and the green hills kept on haunting him and Rudra Baruah penned down -- Umiam Umiam senehi noi
Bukure bedana bujaba noari Ushupi thakili boi
Tore pare pare Bali bhoj patilo
Tore sole sole/Safuri phurilo Ulahat utala hoi ...
Joining the Cultural Department, Rudra Barua began enriching the treasure trove of Assamese music as he got the chance to concentrate wholeheartedly on the same. Apart from singing and writing songs, he also continued acting in Assamese films and dramas. But perhaps, his greatest contribution to the field of Assamese art will be his untiring efforts to bring out the hidden talents to the forefront. Rudra Barua is one among the few Assamese who left no stone unturned in bringing out the best talents from the abyss of uncertainty. During his lifetime, he helped many singers, actors, performers and artists to come out from the unknown villages and perform their art. For the upliftment of the Assamese artists and performers and also for the development of the overall scenario, he submitted many a proposal to the government and was trying to implement them when he fell seriously ill and was flown to Madras where on 14th February, 1980 he left for his heavenly abode. Assam lost one of its worthy sons. It is really tragic to note that against his life long devotion and sacrifice for the upliftment of Assamese culture, we could pay him nothing. He fought, all through his life for the peoples cause, sang from deep in side his heart where every tune reflected his moribund effort to awaken the Assamese society, and now twenty years have passed since he died, but not even a posthumous recognition has been conferred upon this great singer son of Assam, which clearly proves how selfish and ungrateful we Assamese people are. There's no many organisation that make a hue and cry in the name of Assamese culture, so many people speaking out in favour of the same, but nobody ever raised a voice in his favour. For Rudra Barua's untiring efforts for the upliftment of the downtrodden, he should have been conferred with a national recognition like Sangeet Natak Academy award or something like that, but how that can happen when the very people for whom he did so much are silent, letting even his memories fade away so easily. Perhaps, today people have forgotten him for he is long dead but still Rudra Barua will continue to allure us and everytime the Assamese society went through an emergency he will continue to empower us with his golden voice that's still afresh and alive in our hearts.
Barnali thumbnail
20th Anniversary Thumbnail Rocker Thumbnail + 2
Posted: 18 years ago
#37

Originally posted by: leoni

👏 Thnx to all my friends who came forward to share and contribute their information's in this thread to made it interesting........ and a big heartiest Thnx to Barnali di for opening this lovely thread. 👏

Leoni, Pranjal and others yu all can listen to all the songs here. complete listing from musicindiaonline.com

pradip200 thumbnail
19th Anniversary Thumbnail Navigator Thumbnail
Posted: 18 years ago
#38
Old man river... keeps rolling along

You don't have to be a rich man's son to move around the world. You don't have to compromise on your principles to carve out your own following in Bollywood. You can just be Bhupen Hazarika and watch fate take you places. ZIYA US SALAM speaks to the veteran composer, still singing aloud the song of life... .

Photos: V.V. Krishnan.

Bhupen Hazarika... good old times, good old melody.

IT SHALL remain one of the delicious ironies of fate that Anu Malik - now Maliik, now Mallik, now Annu as per convenient numerology - remains Bollywood dream merchants' favourite, notching up double digit films every year while an infinitely more talented Bhupen Hazarika still has to rely on "Dil Hoom Hoom Kare" from "Rudaali" (1993) to establish an acquaintance with posterity. Malik might copy "Come September," Nusrat Fateh Ali Khan and others with bravado bordering on impudence, yet for the common man, he remains the king of Bollywood, probably its most identifiable music director after A. R. Rahman and Nadeem-Shravan. Yet, the original continues to languish in relative obscurity, working in an odd Kalpana Lajmi film here, an odd M. F. Husain film there. In niche cinema lies his following. As a well-known wit said: "One composes for the classes, the other for asses!"

In New Delhi recently, Bhupen Hazarika is picture of dignity and content. "I am happy with life. After all these years of struggle and all the awards and felicitations that have come my way, I have no regret. I never visualised it when I started out. I wanted to be a journalist, though I was a serious student of music. I am at peace with everybody, with the world. Now, I have just one message for the new generation: Simplicity always wins. You don't have to be the son of a rich man to see the world. You can be a schoolmaster's son and still be able to see the world. I may not be a rich man even now but I have never worked 9-5, never had to worry about the income tax. But whatever I have should last me for the rest of my life." Incidentally, Hazarika, 76, himself is the son of a schoolteacher and set out to see the world when India was just keeping its tryst with destiny.

"I have done 122 films in Assamese, Bengali, Hindi. I have got love from all over. I have got Dadasaheb Phalke Award after 'Rudaali'. I cannot compose songs like 'Khatiya' and 'Choli ke Peeche'. I was happy when 'Dil Hoom... ' beat such songs in the countdown shows. Film music is not marriage video or a Punjabi party. Movies have become a consumer product. Now, even when they talk of patriotism in Hindi cinema and the NRIs coming back home to the homeland, it is like commercialisation of patriotism. I cannot do that."

Yet, he is no old man yearning for retrospective contentment while cribbing about the present. He showers praises on Ilaiyaraja and A. R. Rahman. "I love all good things of life. I find Rahman and Ilaiyaraja on the right track. Whenever they go off the track, they know how to come back to the right path. I sang once for Rahman, he just told me to do what I wanted! I tell him to take it easy, take a break, avoid repetition of tunes. That is the way to last longer. He agrees but then there is the problem with directors. After one hit song, all of them want similar <243>songs!"

How come the man whose Assamese songs have been translated into Japanese, Nepalese and many other languages, is not seen more often in Hindi cinema: "I love Hindi but nobody brought me here. When I started out I did not have the money to stay in Delhi or Mumbai for a month and wait for work. Until one day Atma Ram - Kalpana Lajmi's uncle - gave me 'Aarop'. I composed the song 'Nainon Mein Darpan Hai, Darpan Mein Koi'. It became a hit. To tell you the truth, it is originally a cowboy song in the North-East. I heard this from a boy in Khasi Hills. I immediately learnt the tune but I did not copy it. I preserved the soil, the soul of the song and brought it to a wider audience. I basked in the glory of 'Nainon Mein Darpan' for sometime until 'Rudaali' happened."

Well, "Rudaali" too was sheer accident. "I was in the Capital with other film personalities, meeting at the National School of Drama. There Lajmi had sent her film proposal for 'Rudaali' with my name as the music director and I did not even know! I did the film for free, actually one rupee which again, never came my way!"

Yet, again the man given to frequent bouts of nostalgia, lapses into the past. "The tune, 'Dil Hoom... ', was actually composed way back in 1962 for an Assamese film 'Moniram Dewan'. I used that tune for 'Rudaali'," recalls this student of Jyotiprasad Aggrawalla, the man who made the first Assamese film in 1935, whose ancestors had shifted from Rajasthan to the Hill State in the early 19th Century.

Recalls Hazarika, a product of Cotton Collegiate Higher Secondary School in Assam, "I wanted to do many things when I started out. I wanted to be a journalist, so I did Ph. D in Mass Communication from Columbia University. I wanted to be a lawyer and sing in the bathroom. So I went ahead and did M.A. in Political Science from Banaras Hindu University. There I also learnt music for four years from Sangeet Bhuvan without having to pay any fees. I was enamoured of the rhythm and melody of the hills and the plains. I met luminaries of Indian People's Theatre Association and music possessed me. I did not know Marx but my first song was on Shankara Deva. Then and there I realised that a slogan could not be a song, it must reach out to the heart. Ragas cannot be distorted, they are the soul of music. In Guwahati, I was an Assamese. In Kolkata, I became a Bengali but I became an Indian after coming to Uttar Pradesh, particularly BHU. I was lucky to get in touch with people like Jyotiprasad and Narayan Menon who guided me."

I went to America in 1949. I went via Paris where I met my idol Picasso. I did not know how to react when I met the legendary painter. He wanted to know if I were really his follower and asked me about what quality I liked the best in his works! When I replied I liked the 'Blue period', he was convinced. I had no camera, there was no proof of that morning meeting. I wanted to touch Picasso and his words stay with me: 'Hazarika goes to America'! In America, I washed dishes, wrote commentary for short films in New York for 250 dollars. It was a lot of money for me. I became a Leftist in the land of Capitalism."

In America, he met another idol of his - Paul Robson and the rest, is 'Old Man River, You Don't Nothing, You Just Keep Rolling Along... ' The song stayed with him and was transliterated into almost every Indian language. In Assam, the river was called Brahmaputra, in U.P. it was called Ganga by Narendra Sharma - 'Oh Ganga Behti Ho Kyon...'

Though his memory is failing him and he frequently falls into the wistful lap of the past, he is still full of life, full of humour. In one interview, he gives you sufficient matter for a chapter or two of an authorised biography. Cool, composed, soft-spoken man from a family of singers - his brothers, sisters and even the next two generation members of his family are singers - is now busy wooing the next generation in Kalpana Lajmi's "Kyon", based on the problems of growing up and the responsibilities of parents. "I am also planning an Assamese film. It should be ready by the end of the year," informs the man who has composed for films like "Saaz", "Daman", "Mil Gayi Manzil Mujhe" and "Gaj Gamini" in the past. "Well, like 'Rudaali' 'Gaj Gamini' also happened by chance. M.F. Husain called up from a press conference in London to tell me that I was doing the film. I was not even given time to think. He just decided for me!"

Well, if life is an accident, this humble man with lofty deeds has had some sweet things happening to him. "No complaints. I am happy," signs off the man who has been at the helm of affairs of Assam Sahitya Sabha, Sangeet Natak Akademi and has also dabbled in politics.
pradip200 thumbnail
19th Anniversary Thumbnail Navigator Thumbnail
Posted: 18 years ago
#39
Music : Remembering the Late Jayanta Hazarika

Manisha Hazarika, Laili Dutta and Mayukh Hazarika

A mellifluous voice and a composer par excellence of Assam's world of music and film industry, Jayanta Hazarika (20/9/1943-15/10/1977) has left a huge void by his premature demise. He followed the pioneering style of Jyoti Prasad Agarwala of synthesising the elements of folk, Indian classical and western music to weave out a distinctive form, intimate and recognisably Assamese in character. He accompanied his elder brother, Dr Bhupen Hazarika to the International conference of political songs organised by the October Club at Berlin in February 1972 and overwhelmed the German audience. Inspite of his hectic schedule, he formed Sur Bahini, a mobile musical brigade, committed to working selflessly for the welfare of the poor.

After a tribute, Jayanta's wife, Manisha Hazarika, will give a vocal concert along with her son Mayukh Hazarika and daughter in law, Laili Dutta Hazarika, who is a graduate in Music from the Bhatkhande Music University, Lucknow. She is a well known popular artist of All India Radio, Assam. Mayukh will relive the voice of Jayanta Hazarika.

Accompanists: Yusuf Ali Khan (tabla) and Ami (Guitar).
pradip200 thumbnail
19th Anniversary Thumbnail Navigator Thumbnail
Posted: 18 years ago
#40
Any one know Dhrubajyoti Phukan ?

It is sad but true that very few people know about
Dhrubajyoti Phukan In Assam....Dhruba da is from a
small town MORAN....He completed Mechanical
Engineering from Assam Engineering College in
1989..Even though he is an engineering graduate, his
first love is always music... Music is his
blood....Very few people know that,he was the man
behind the films like KAANTE, BICHHU, HAAD KARDI
AAPNE, MAJOR SAAB, INDIAN, JANASHEEN,etc. ......

Dhruba da also worked with Jatin-Lalit in HUM TUM and
recently released FAANA..... Dhruba da also worked
with Nadeem-Shravan in BARSAAT, DOSTI AND MERA JIVAN
SATHI.... Dhruba da also composed songs for MUSIC
DIRECTOR PRITOM ( GANGSTAR AND PYAAR KE SIDE EFFECTS
), ANAND RAJ ANAND, SANJEEV- DARSHAN,...
Dhruba da also gave music for two songs for Ravinaa
Tandon Productions STUMPED. ONE OF THE SONG WAS SUNG
by HIS WIFE SHASHWATI PHUKANThese songs are really
very good..

Kaante was the most successful project that Dhruba
Da ever did till now.Though ANAND RAJ ANAND was the
music director of the film,the truth is that most of
the songs were created and composed by Dhruba daJust
recently, Dhruba Da finished YASH RAJs DHOOM
2.Presently he is working as an assistant composer
with NATASHA JAIN on a US experimental instrumental
fusion project of Indian Folk and Western music.
(Natasha Jain is two time national award winner in
US).

Dhruba Das major individual projects as a Music
Director are JACKPOT and STUMPED. One of the song of
STUMPED 'Ek Sapna hona chahti' was a highly popular
romantic no. among youths.

Plz find an extract of the article published in NORTH
EAST SUN, 31st JULY issue and you can search about him
in GOOGLE also.

Some Links where you can get more information about
Dhruba da

1.http://www.bbc.co.uk/coventry/films/reviews/ 2003/bollywood/stumped.shtml

2.http://ww.smashits.com/music/hindi-film/songs/2138/ stumped.html

Related Topics

Top

Stay Connected with IndiaForums!

Be the first to know about the latest news, updates, and exclusive content.

Add to Home Screen!

Install this web app on your iPhone for the best experience. It's easy, just tap and then "Add to Home Screen".