A cultural beacon Sanjida Khatun, a life beyond death
In every nation, among every people and culture, there are individuals who dedicate their entire lives to the relentless pursuit of art, humanity, and the greater good of their country. They become torchbearers, guiding lights, never looking back at their own personal gains or momentary pleasures. One such extraordinary individual was Sanjida Khatun (April 4, 1933 – March 25, 2025), the former president of Chhayanaut.
She was a towering figure in the realm of Bangladeshi art, literature, and culture. Under her guidance and influence, a structured and refined tradition of music practice flourished in Bangladesh. Most notably, Rabindra Sangeet found an institutional framework through the dedicated efforts of Chhayanaut.
Sanjida Khatun was a devoted guardian of Bengali culture, tirelessly working to enrich and elevate the cultural landscape of Bangladesh. She was an extraordinary personality who strengthened the foundation of Bengali identity through her commitment to the arts.
She was a Rabindra Sangeet artist, writer, researcher, organizer, musicologist, and teacher. She was a founding member of numerous institutions, including Chhayanaut Sangeet Vidyayatan, Rabindra Sangeet Sammilan Parishad, Kanthashilon, Nalanda Vidyalaya, and Bratachari.
Sanjida Khatun, daughter of the renowned scholar and National Professor Dr. Qazi Motahar Hossain, was a faculty member in the Department of Bengali at the University of Dhaka. Before that, she taught at Eden College and Rangpur Carmichael College. She eventually retired as a professor from the University of Dhaka’s Bengali Department.
In recognition of her contributions, she received numerous awards, including the Ekushey Padak, Bangla Academy Literary Award, Rabindra Smriti Award (West Bengal, India), and Desikottam Award (West Bengal, India).
In 1988, the Tagore Research Institute in Kolkata honored her with the title "Rabindra Tattwacharya." In 2019, she won the BRAC Bank-Samakal Literary Award for her essay collection Nazrul Manas. In 2021, the Government of India honored her with the Padma Shri Award.
The Pakistani rulers had attempted to impose Urdu in place of Bengali, striking at the very identity of the Bengali people. Though this attempt was thwarted by the Language Movement, their cultural aggression did not stop. They continued their attacks on Bengali culture in various ways, imposing numerous restrictions.
Artists protested by singing Rabindra Sangeet. As a result, restrictions were imposed on Rabindra Sangeet, and it was officially banned. The Pakistani aggression against this land was constant, and its influence still lingers. In Pakistan, Rabindranath Tagore was also banned, which led cultural activists in Bangladesh to rise in protest.
To resist this cultural suppression, they organized celebrations for Tagore’s centenary. Realizing the need for a cultural organization to sustain the movement, they formed a committee with Begum Sufia Kamal as president and Farida Hasan as secretary. This marked the foundation of Chhayanaut in 1961. Sanjida Khatun and Wahidul Haque were in charge of managing the organization.
At one point, Wahidul Haque proposed opening a music school. Thus began the journey of Chhayanaut Sangeet Vidyayatan, which soon became the heart of Bengali artistic and cultural practice.
When the Pakistani rulers attempted to strangle Bengali culture, Chhayanaut emerged as a strong force of resistance. Through cultural activities, it sought to unite the people of the country. The organization's Boishakh celebrations became a form of protest, turning Pahela Boishakh into a movement against cultural aggression.
In the early years, only Rabindra Sangeet was performed at these celebrations. Gradually, songs by Kazi Nazrul Islam, Atul Prasad, and Dwijendralal Roy were included, followed by patriotic songs, folk music, and Lalon Geeti. Since then, Chhayanaut, under the leadership of Wahidul Haque and Sanjida Khatun, has been organizing the Pahela Boishakh celebrations every year under the banyan tree at Ramna.
Despite numerous challenges—political turmoil, natural disasters, and autocratic rule—nothing could stop this iconic New Year’s celebration. The courageous and indomitable Sanjida Khatun never wavered in her commitment to Bengali cultural practice. In 1967 (1374 in the Bengali calendar), Chhayanaut officially initiated the New Year’s celebration at the Ramna Batamul (beneath the Ashwattha tree). Since then, the arrival of the Bengali New Year has been welcomed with songs in the first light of dawn.
At the beginning of the Liberation War, she moved from Rangpur to Dhaka. From there, she traveled through Jirabo village in Savar, then to Comilla, and finally crossed the border into India. Several cultural activists accompanied her on this journey. They stayed in Agartala for some time before reaching Kolkata on May 5, 1971. There, she began uniting cultural activists in support of the Liberation War.
Her spirit was deeply rooted in humanity. During the war, she founded the Bangladesh Mukti Sangrami Shilpi Sangstha (Bangladesh Freedom Fighters’ Artists Organization), using culture as a weapon of revolution. She was a true Bengali at heart—tirelessly dedicated to the practice and preservation of Bengali culture.
She was a lifelong teacher and a person of remarkable discipline and integrity. Her lifestyle was so simple and humble that it is almost unimaginable. She can be considered an ideal role model, a figure of inspiration. Her values, personality, and way of life remain a source of motivation for many.
A few years ago, when she was around 84 or 85 years old, she called me one day and said, “Can you all come to my house tomorrow afternoon? I really feel like treating you all to some snacks. Not too many people—just you, Sumona, your daughter Kheya, and Jahir (the reciter).”
I gladly agreed—this was like an unexpected blessing. When we arrived in the afternoon, after some casual conversation, she invited us to the dining table. There was a wonderful spread of delicious food. She said, “I cooked today after many years. See if you like it.” I was surprised and asked, “What? Why did you go through the trouble of cooking?” She replied, “I thought since you all are coming, I should cook with my own hands and serve you.” There was no choice but to be amazed. She had cooked everything herself—at this age! On top of that, she was serving all the food herself. I felt truly honored. At that time, my daughter Kheya was just seven or eight years old.
She picked up a rasgulla and handed it to Kheya. But Kheya was hesitant to eat. She managed to eat half but couldn’t finish the rest. Sanjida Khatun gently took the half-eaten rasgulla from Kheya’s plate with her fingers and said, “Let me finish the rest with you.” What a remarkable person—yet so simple and down-to-earth. It is this simplicity that made her extraordinary.
Sanjida Khatun is an immortal soul. Even in death, she will live on in people’s hearts. The light of her knowledge will continue to shine through every student she nurtured. Even if a single lamp is extinguished, its warmth and light remain in the thousands it has kindled. Her teachings and wisdom are a treasure for Bengalis, a guiding force. That light and warmth will be cherished, preserved, and will continue to inspire generations to come.
Dr.Santosh Dhali:Poet and fiction writer
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