Understanding Nazrul:
In conversation with Mafizul Islam
Sadya Afreen Mallick
Mafizul Islam Photo:
Mafizul Islam has a right to feel disgruntled whenever discussions about the state of Nazrul Sangeet come up. Although not a household name, Islam has been a lifelong follower and practitioner of Nazrul Sangeet, more intent on maintaining its pristine quality in his rendition of the songs than seeking limelight. Trained under the most reputed artistes of his generation, Islam has recorded some of Nazrul's most brilliant and little known compositions. His renditions are marked with minute intricacies.
I consider myself fortunate for having listened to live performances of some of the legendary singers such as Angur Bala, Shiddeshwar Mukhhopadhhyay, Dhirendrachandra Mitra, Kamol Das Gupta, Deepali Naag and many more. But it was only recently that I had the good fortune of meeting Mafizul Islam just as he finished performing at the Nazrul Institute on the occasion of the poet's birth anniversary. Islam was in his element, performing an uncommon Nazrul song, Kon shey shudurey, Ashok kanan-e bandini tumi Seeta, Aar koto kaal jalibey amar bukey biroher chita. The brilliant delivery reflected the magic and mastery of the Nazrul song. I, along with a full house audience, listened with rapt silence.
Islam, however, had a different view of how he had been perceived, not in that hall, but throughout his career. “Despite all my efforts, I feel I have more often been 'victimised' than 'appreciated' by the critics,” he says.
Why so? “I am beyond the comprehension of many artistes. I feel if artistes devoted more time towards culturing their understanding of Nazrul, rather than seeking instant popularity, I could better identify myself with them. Having a different aim than most, I feel many artistes don't naturally understand my goal of pursuing Nazrul Sangeet as a lifelong career. Which is why I often tend to lose my temper when discussing the finer points of Nazrul's works,” he says.
“Waheedul Haque used to call me 'Khepa Durbasha' (Durbasha was a stern ascetic, well known for his fiery temper and taking his anger out on people),” says Islam.
Despite his “anger” at the state of Nazrul Sangeet, Islam had devoted much of his time training generations of artistes. He initially started his career at Calcutta Radio in 1942, subsequently joining the erstwhile radio station of Dhaka. Later, he taught music at the Azimpur Girls School for almost two decades and also joined the College of Music and taught aesthetics. Islam also took pains in training students outside the city under a programme conducted by Shilpakala Academy.
Mafizul Islam's passion for training students might have developed from his own experience as a pupil under one of the celebrated artistes of his generation, the inimitable Chitta Roy. Roy worked as an assistant to Kazi Nazrul Islam, and the chance to train under him came about as a twist of fortune.
While traveling by train one day in 1943, Islam noticed Roy in the second class carriage. When Islam understood that Roy had not been able to secure a seat, he offered his own and even paid a fare of three paisa on behalf of Roy. Although Islam frequented Radio Calcutta, he had not been able to meet the musical genius till then. But now it was Roy, who in appreciation of Islam's gesture, offered to meet with him. Islam's eagerness to learn Nazrul Sangeet and his talent in performing them was apparent. Very soon, Islam became a student of Roy.
For the next four and half years, Islam regularly trained under the renowned composer, who lived in Bhabanipur. “Previously many other prominent artistes were turned away by the ill tempered Chitta Roy,” went on Islam “so I was grateful for the opportunity.”
Mafizul Islam's love for music multiplied by the day. He composed several songs such as Ke duranto bajao -- jhorer byakul bashori, in teen taal and raga Hindol which expresses the essence of the ferocity of a storm; Bono pothey ke jai, in raga Chandrakosh and Ajo modhuro banshori bajey, a song in raga Bhimpolosri also in teen taal. Till date the performers find it difficult to satiate the listeners with the aadi suur (original tune) as compared to these songs.
Mafizul Islam also composed the tune of Elo oi bonantey pagol bashonto --in raga Paraj Basant in teen taal, which is yet another example of his brilliance. The tune has been taken from the Fagua brij dekhana -- a khayal presented by none other than maestro Abdul Karim Khan Saheb.
Islam wrote four episodes of Swaralipi Grantha and a book of notations titled Hindol Swaralipi Grantha in the year 1967. He has in his possession several original records of Nazrul that he considers "priceless".
Islam's respect for Nazrul's work has not dimmed with time. “Nazrul was very liberal with his songs. He allowed the artistes of stature to make variations in terms of style. The authentic songs have to be presented on a regular basis in the media. This way the songs would be popular amongst the general listeners,” says Islam.
Nazrul had in-depth knowledge of Indian classical music. He experimented with a wide range of ragas, many of which were not much in vogue and in danger of becoming extinct. Accordingly, he composed 17 ragas such as Udaashi Bhairavi, Arunranjani, Devjani, Asha Bhairavi, Shibani Bhairavi, Rudra Bhairav, Roop Manjari, Arun Bhairav, Sandhyamalati, Neerjharani and more. Nazrul was equally adept in composing Baul songs, Bhatiyali, Jhumur, Santaali and Shyama Sangeet or songs devoted to the Goddess Kali. Islamic songs in Bangla were introduced by Nazrul Islam.
With such a wide-ranging spectrum of songs, Mafizul Islam feels artistes would fail to reach the pinnacle of performance without a deeper understanding of the compositions and Nazrul's philosophy.
According to Geet Govinda, “A song reaches its philosophical depth only when the lyrics, rhythm and phonetics blend together. It would otherwise be like an unadorned woman, a sea without water, or a tree without leaves.
The first and foremost quality of an artiste depends on aptitude and fascination for music. Nazrul's ghazals are simply unparalleled. Before him, only Atul Prasad composed around eight ghazals. But Nazrul made the Bengali songs more akin to ghazals by inserting Arabic and Persian words in it. His songs were composed brilliantly with wonderful phonetic combinations of Arabic and Persian languages and often intertwined with sweet and subtle Arabic melody,” he says.
Now in his 80's, Islam has had to restrain his passion for performing on the stage. His passion for Nazrul Sangeet, however, remains as fierce as ever. And even today, his dream remains that artistes would develop a wholesome understanding of Nazrul Sangeet, so that they are able to not only perform in their highest potential, but also retain the compositions in the mantle of greatness where it rightfully belongs.
Oval yesterday. Coming in at number three the left-hander paced his innings beautifully and was unbeaten on 132 in Bangladesh's imposing 305 for four after the Tigers had opted to bat. Mehrab's left-arm orthodox spin then fetched him three wickets as the Chief Minster's XI innings, without any players from the Australian national side, folded for 185 in 36.2 overs.This was Bangladesh's last warm-up match before the one-day international series against Australia and the win came just when needed. 
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