Why is security needed to listen to music?

The popular songs “Ei Padma, Ei Meghna,” “Khachar Bhitor Ochin Pakhi,” “Shomoy Ghele Shadhon Hobe Na,” and “Tomra Bhule Gechho Mallikadir Naam” bring to mind the voice of the legendary singer Farida Parveen, often called the Lalon Kanya". She is renowned for singing Lalon Fakir’s songs. For 54 years, she has been singing Lalon, Nazrul, patriotic, and classical music. In recognition of her significant contribution to music, she has received the Ekushey Padak, the Fukuoka award from Japan (which is known as the Nobel Prize of Asia), and the National Film Award, along with numerous other domestic and international awards.

Recently, she visited the Views Bangladesh office. She enlivened the office with her songs and conversation. During her visit, she shared her journey in music, her work with Lalon’s songs, and various aspects of the Bengali music sector. This is the final part of her interview, conducted by Views Bangladesh’s Associate Editor Girish Goiric and Editorial Assistant Shahadat Hossain Touhid.

Views Bangladesh: As part of your career, you have traveled across many regions, both within and outside the country. How would you describe the feeling when you hear someone singing your song, alone, for their own enjoyment?

Farida Parveen: This is something that can’t be analyzed easily; it’s more about perception. Truly, I express gratitude to Lalon Shai’s teachings, which reside within me, and when I sing, I experience a kind of intoxication in the melody. Whatever happens, whatever will happen is already determined. I’ve never felt disrespected in any place. I am grateful to all the people. What song did I sing? I don’t know, but perhaps through my singing, some spiritual consciousness awakens in them. I offer my thanks to the one who owns the entire universe.

Views Bangladesh: It is said that after hearing you sing, Bangabandhu Sheikh Mujibur Rahman shed tears. Could you share the story?

Farida Parveen: This was after independence. I believe it was when the Transaction Service Room was being inaugurated by Bangabandhu Sheikh Mujibur Rahman. My teacher, Muksed Ali, asked me to perform there. After recording 12-14 songs late into the night, I remember Ustaad Fuljhuri Khan listening to my voice and saying, “In all my years of classical study, I have never heard such a voice.” Many others had said the same. Shaheedul Islam, a war hero, was the Director of the Transaction Service at the time, and the evaluators were Komoldash Gupta, Kader Jamili, Abdul Alam Chowdhury and Fuljhuri Khan. They heard my songs. I had the habit of singing anytime someone asked me to. I never cared who was considered a greater expert, and I never felt the need to know. I sang what I knew. Afterward, Komoldash Gupta, Abdul Hamid Chowdhury, and Kader Jamili praised my singing.

Shaheedul Islam, being a language soldier, was very dear to Bangabandhu. Bangabandhu said to him, “What are you doing? Did you record a song with a girl?” Shaheedul Islam replied, “Leader, I won’t say anything; just listen to the song.” Then I sang “Khachar Bhitor Ochin Pakhi.” After listening to it, Bangabandhu’s eyes welled up. Bangabandhu then told Shaheedul Islam, “Do whatever you want, but make sure this girl gets an opportunity to perform. Lalon should be the focus; nothing else should happen.” Later, when I performed and inaugurated the festival with my songs, Bangabandhu was very pleased. Shaheedul Bhai said to me, “You know, Bangabandhu cried when he heard your song. What more do you need?” I still remember that conversation. After that, I sang “Pare Loye Jao Amay,” “Bari’r Kache Arshi Nagar,” “Khachar Bhitor Ochin Pakhi,” and “Milon Hobe Koto Dine” for the festival inauguration. I believe that was one of the defining moments of my life. These songs, like “Tomra Bhule Gecho Mallikadir Naam,” “Nindar Kata Jodi Na Bhidil Gaye,” have remained unforgettable.

Views Bangladesh: Could you explain the mystery behind the song “Tomra Bhule Gecho Mallikadir Naam?”

Farida Parveen: I am not a poet or a writer, so I cannot speak as they would, but I will share what I understand. Every poet or writer has someone they deeply love or admire. The essence of this song is about that. Perhaps the poet, , was subconsciously in love with someone named Mallika Di or observed her from a distance. It could be that while living in the village, there was a backdrop where such feelings were experienced. It seems like a true event, where perhaps during the time of gathering mangoes, they met or had some interaction. Love often manifests in small, subtle ways, as reflected in the song.

Views Bangladesh: How was the recording of Mallikadir’s song done?

Farida Parveen: I learned it and then recorded it. In 1968, I sang at Rajshahi Betar (Radio). I passed the radio test with both Nazrul geeti and modern songs. That’s where I first recorded it. Another song, “Nindar Kata Jodi Na Bhidil Gaye,” was also recorded there. Both of these songs were selected as the best of the month. At that time, no one knew me, but they recognized my voice. That’s why I always give credit to radio. Even though they hadn’t seen me, they acknowledged my voice. Nowadays, everything can be seen and heard, but I remain truly grateful to Bangladesh Television and Betar.

Views Bangladesh: With the excuse of security or objections, Lalon fairs and Baul festivals are being shut down in various parts of the country. What’s your opinion on this?

Farida Parveen: Lalon Shai's fair has been happening since his lifetime. Are they carrying sticks or beating people? Where is the problem? Why do we need security to listen to music? I’ve sung throughout the night at Lalon festival. People attend and listen to music, whether they fully understand it or not; they still experience its essence.

It’s said that Lalon Shai was born and passed away on the same day. So, this year, there were huge crowds; it was unimaginable. I thank those who organized it. Researchers and scholars discuss that listening to Lalon’s music brings spiritual awakening. As for me, I have carried Lalon’s message throughout the world in my music for all these years. If the fair has been running for so long, why should it stop now? It must continue, and security should be provided. The local authorities and police must ensure the safety of the event. The fair cannot be canceled.

Views Bangladesh: After the mass uprising, our culture has faced significant political setbacks. What is your view on this?

Farida Parveen: A nation is defined by its culture. I understand that everything needs to be upgraded. All musical activities must continue. I’m saying this with great honesty that since the pandemic, there have been no programmes. How will we survive? Despite the fame and recognition we’ve achieved, the Baul, Fakir, and instrumental musicians are still struggling, and we must understand their difficulties. Nevertheless, I remain optimistic. By the grace of Allah, our funding is getting stronger. We owe a great deal to Dr Yunus and others. Slowly, programmes are beginning again, but it’s not enough. In the past, we didn’t have time to rest between programs, and we would travel abroad. Now, that’s not happening.

Views Bangladesh: Why do we no longer see prominent musicians like Abdul Hamid Chowdhury, Komol Dashgupta, Samar Das, Abu Zafar and Kader Jamili?

Farida Parveen: Music is a discipline learned from a guru, and you must continue learning until the guru passes. Secondly, I must say clearly that the reality TV shows on channels are destroying the music industry. These shows are ruining the continuity of music. The true talents are not being recognized. I’ve seen it myself. These shows are about business. They give cars, money, and flats. In contrast, I couldn’t even afford to buy a flat for fifty years. But I take great pride in giving my children a good education. The root of the problem lies in how the genuine music is being overshadowed. If this continues, it will inevitably affect the future of the industry. Still, I remain hopeful that some true artists will emerge from this system.

Views Bangladesh: In 2017, you performed Lalon songs in Hindi in front of former Indian President Pranab Mukherjee and other dignitaries. Could you share that story?

Farida Parveen: Former Indian High Commissioner in Bangladesh, Muchkund Dubey, who recently passed away, had heard my songs and loved them. He understood Bengali music well and was deeply moved by my singing. From there, his desire to translate Bengali songs into Hindi grew. I didn’t know him at that time. One day, he introduced himself saying, "I am Muchkund Dubey." In a mix of Hindi and Bengali, he said, "Farida, I really like your songs. I will call you to my office." Wherever he went, he would talk about me. Initially, he asked me to perform the song "Pare Ke Jabi Nobir Naukatay Aay." He was a Hindu, so why was he talking about the boat of the Prophet? I believe he was a unifier of all religions, just like Lalon Shai, who integrated the teachings of various religions, such as the teachings of Allah and the Prophet, as well as the teachings of Radha and Krishna, in his philosophy of the unity of the soul and human spirit. According to Shai, the essence of a person is their truth. To him, the important part of his songs was surrendering oneself to the greater truth.

At that time, Muchkund Dubey had translated 105 of Lalon's songs into Hindi in secret. He told me that he wanted me to sing these songs, and no one else. He invited me to his home and handed me three songs: "Bari'r Kache Arshinagar," "Khachar Bhetor Ochin Pakhi," and "Milon Hobe Koto Dine." This is how my relationship with him began. He used to come to my academy, and he gave me many things like a harmonium, tanpura, and more. I learned four or five songs from him, and then he took me and Gazi Abdul Hakim to Delhi. There, he arranged for tabla and other instruments, and I learned and recorded twenty songs.

In 2017, at the Presidential Palace, President Pranab Mukherjee unveiled the Hindi translations of Lalon's songs. Muchkund Dubey had translated 105 of Lalon's songs into Hindi. Almost all members of the Indian Parliament were present. The then Information Minister Hasanul Haq Inu, Professor Anisuzzaman, and delegates from Bengal Foundation were there. I performed two songs: one in Bengali and one in Hindi. The Bengali song was "Pare Loyay Jao Amay," and the Hindi version was "Bari'r Kache Arshinagar," which in Hindi became "Pinjire Ki Bhetor, Aanchik Ka Kaanchik Kiya Che Aaye Jaaye." After singing these, you wouldn't believe it, but President Mukherjee stood up, took me in his arms, and said, "Mother, you sang this Hindi song so beautifully. You are a person of Bengal, you are a girl from Bangladesh. I am so happy. I send you my blessings, and I hope you become even greater." His security personnel told him to move along, but he said, "No, no, let her salute." I saluted him. It wasn’t about India and Bangladesh; he was my elder, so I respected him. The respect Muchkund Dubey showed me, I will never forget. May Allah place him in the highest place.