Dhaka raps to a new tune
Two huge speakers were blaring what
sounded like a rap song. But it was all in Bangla. This was something new and
original. The artiste happened to be someone called Fokir Lal Miah. He was good.
Mushfiq said that Bangla rap/hip hop was an emerging music genre in Bangladesh
with a handful of dedicated artistes and admirers. But this wasn’t usual rap/hip
hop or the variety that is generally associated with American rap/ hip hop
artistes. This was something deeper. For example, the song Beshi Kotha on Lal
Miah’s album Chhoy Nong Bipod Shongket (No 6 Danger Warning) is a fantastic
social commentary on how flippant and judgemental people can be. Similarly, the
track Bichar Chai (Justice Needed), though not part of the album but available
on the Internet, is Lal Miah’s brilliant commentary on more than three decades
of Bangladeshi politics and the present socio-economic condition of that
country. -- Rudroneel
Ghosh
By Rudroneel
Ghosh
The youth in Bangladesh are
slowly finding their voice and some are making it heard through Bangla rap/hip
hop. That’s a comment on Bangladeshi politics, society and economy. It also
reflects the aspirations of the youth of Bangladesh eager to dump the burden of
the past
In 2006 Dhaka was in the middle
of a curfew having witnessed days of domestic political strife. But there was a
week of relative calm when rival political parties had called off their
agitation, giving visitors like this writer a small window to slip in and out.
The entire city was in lockdown. There were security-men all over. However, four
years later, a sea of change has swept over Dhaka. There is a buzz in the air
and the people of this densely populated city are full of energy. This
transformation merits investigation.
Mushfiq was extremely concerned
with the socio-economic development of Bangladesh. An employee for the
Bangladesh branch of an international development consultancy firm, he spoke
passionately about projects that would make positive qualitative differences at
the grassroot level. His vision was that of a strong Bangladesh that would have
socio-economic equality for all. He commented in an activist-like manner, “We
have had three generations in Bangladesh. The first, comprising our founding
fathers, was brilliant. But the second generation ruined everything. They
presided over one of the most corrupt phases in our country’s history. It is now
up to us to set things right. For this we need the right attitude.”
It is becoming clear that the
youth in Bangladesh are slowly finding their voice. They are well aware of the
shortcomings of the previous generation. Yet, this writer came across reports in
the local papers of violent clashes between student bodies of the Awami League
and the Jamaat-e-Islami at Dhaka and Rajshahi universities. “These fellows are
losers, useless people, they have nothing better to do,” Mushfiq
commented.
Dhaka too did not seem bothered
about the clashes between the two politically aligned student bodies and was far
more interested in the imminent Poila Phalgun celebrations. Traversing the
bylanes of old Dhaka with Mushfiq and Raisa in hunt of shutki maach (dried
fish), one noticed young women in traditional yellow saris with flowers in their
hair busy shopping with their friends and families. But it was a small music
shop in the city’s Gulshan market that led to a truly amazing discovery.
Two huge speakers were blaring
what sounded like a rap song. But it was all in Bangla. This was something new
and original. The artiste happened to be someone called Fokir Lal Miah. He was
good. Mushfiq said that Bangla rap/hip hop was an emerging music genre in
Bangladesh with a handful of dedicated artistes and admirers. But this wasn’t
usual rap/hip hop or the variety that is generally associated with American rap/
hip hop artistes. This was something deeper. For example, the song Beshi Kotha
on Lal Miah’s album Chhoy Nong Bipod Shongket (No 6 Danger Warning) is a
fantastic social commentary on how flippant and judgemental people can be.
Similarly, the track Bichar Chai (Justice Needed), though not part of the album
but available on the Internet, is Lal Miah’s brilliant commentary on more than
three decades of Bangladeshi politics and the present socio-economic condition
of that country.
There was also Stoic Bliss, the
pioneers of Bangla rap/hip hop, who were extensively featured on Lal Miah’s
album. These youth were on a mission. They had a sense of purpose and wanted to
give back something to their country. This writer tracked down Lal Miah and
Stoic Bliss over the Internet and found them to be humble individuals dedicated
to their craft. When asked as to what motivated him to sing and that too Bangla
rap/hip hop, Lal Miah replied, “Struggle, injustice and personal experiences I
have had in life… I want to tell stories, not just sing… It is my simple passion
that has brought me here and keeps me here. This was never about fame or money…
I am an artiste, the beat is my canvas and lyrics my paintbrush. I am here to
draw actual images of the truth.” When asked if he had any message for the youth
of Bangladesh, he said, “Some of our youth are completely lost. I want to tell
them it isn’t what you wear, it isn’t about having a fancy English name; it is
about being original and creative. Never follow in the footsteps of others.
Chart your own course.”
It was amazing how much energy
Kazi and Sean Khan of Stoic Bliss have. “As a singer, my passion is soul music.
The sub-continent has had its share of rock, pop, and every branch of music you
can think of, both classical and modern. Soul and R&B need to be inducted
into our rich musical lineage,” Kazi said. “In five years we see ourselves
reaching audiences far beyond the borders of colour, creed and region… When
Stoic Bliss took released its first album — Light Years Ahead — in Bangladesh
back in 2005, a lot of critics wrote us off as a fluke. But the Bangla rap/hip
hop movement has been growing steadily since then, and will take some more time
before it takes on a solid form... Historically everything takes time to be
understood, appreciated and ultimately accepted. It is in our innate human
nature to initially reject or belittle what we don’t understand. But time will
bear witness… I believe music has no borders. Kono baranda nai (There are no
verandahs).
Indeed, this is a new
Bangladesh. A Bangladesh that is young, restless and not afraid to make itself
heard. It wants to cast aside the burden of yesteryears and forge for itself a
new future, one that is based on respect for tradition and love for the
motherland. Bangladesh is perhaps at the most exciting crossroad of its
history.
Source: The Pioneer, New
Delhi
10:16 PM
Sultan Shahin
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