Suman’s songs, the haunts of nano-intellectuals and the attention of the police
Kabir Suman was then Suman Chatterjee. It means the beginning of the nineties. In 1992, when the breakthrough Bengali song album titled “Tomake Chai” was released, it swept the Bengali music audience like a tsunami. Human beauty and aesthetic comfort set his music apart from all previous genres and help blaze new trails. The melody of this song does not have the cheerfulness of Nazruli’s melody, the poetic cunning of Rabindrik’s lyrics, but the artistic nature of Suman’s political and social engagement.
He initiated love into fiery passion and he began to sing songs for the reformation of human values like we have never seen before. It is not a golden voice like Kishore Kumar or Mohammad Rafi, but this voice excites us the most in Ispatpratsi. Both groups, ignorant and wise, are captivated by his music. While walking along the path of his music, one day I suddenly saw a delightful article written by Suman on Leonardo Cohen in the country newspaper titled “Cohen Kavi Cohen”. Shortly after, a book of his essays arrived, most likely called “Far Window”, with an article on several of my favorite authors, possibly also Marx. A songwriter writing these articles? It was amazing. It was nonetheless to be understood by listening to music, by looking at these writings, that if his rise was sudden, his preparation was long and certainly initiated by taste and artistic commitment.
Suman will sing this song in Dhaka after several days. But where? The first place was decided to be the National Museum. Our competent police have advised the museum and citizens to relocate for public safety. Our police forces today perform many other functions in addition to their specific functions, such as deciding whether or not cultural programs should take place or at what time they should end. They can order the cancellation of the appointment. We have seen above that Pahela Baisakh is supposed to finish before evening in their abdar. But they never issued an order to end a waj mahfil at a specific time. Where do these orders come from? I know, it’s not just about the comfort of the police, they have an invisible superior who shakes them like a hammer.
Fundamentalist forces have long tried to eradicate part of Bengali culture, including music, music, sports and more. Even the victory that our talented girls won a few days ago, the mullahs gave a fatwa saying it is obscenity, because girls should not go out in public in such clothes. The state itself congratulated these winners, but these mullahs opposed it. Where has the police or the state ever taken action against them for giving anti-state speech? But what is not anti-State, but human and cultural, the State must ensure the security of these. Under no circumstances should the event be forced to change location or shorten the time. But the police did the same during the Suman event. It was originally supposed to be in a museum, but the DMP didn’t give permission, so now it will be in an enclave of an engineering institute. Some “so-called intellectuals” as partners of the DMP or the government again raised the question: if Suman sings for the people, then why organize a 1,000 taka bill to listen to his music. Singing for ordinary people does not mean promise to be poor, so if an audience can see his music directly by paying one thousand rupees, then why will the mass-oriented character of Suman’s music be destroyed? Someone who does not have the financial means may not be able to listen to their music at the event, but there is no obstacle to listening to it without going to the event. So what is the main purpose behind these fabrications to criticize him? What does the government want – by imposing various restrictions on such events?
#Sumans #songs #haunts #nanointellectuals #attention #police