Wish I could live a little more for the sake of song

Renowned folk singer and “Lalon’s daughter”-famed Farida Parveen passed away today, Saturday (13 September), at 10:15 pm. She was 71. Born on 31 December 1954 in Singra, Natore, she spent 55 years with music. On 24 January 2025, she visited the Views Bangladesh office, filling it with her vibrant and and versatile songs and conversations. During that visit, she spoke about her musical journey, Lalon songs, and various aspects of the Bangladeshi music scenario. That conversation was published in two instalments on 27 January and 8 March 2025. A few days later she fell ill. The Views Bangladesh family kept in touch with her while her condition was deteriorating. But now she is gone. Today, Views Bangladesh republishes her final interview for its readers.

Interviewed by Views Bangladesh’s Associate Editor Girish Goiric and Editorial Assistant Shahadat Hossen Towhid.

Views Bangladesh: Yours is a life over seventy, a whole life with music. What are your feelings about life and music?

Farida Parveen: At this age the first feeling is a desire to live a little longer. The will arises to do a little more for music. Yet man is mortal, worldly life is temporary. Still, by Allah’s boundless mercy, even after such illness I can still sing. If there is life there will be sickness and recovery. I live with both good and bad. I practise music, I do academic work. I try to arrange everything in the manner of a foundation. If you speak of children’s academic education, my first dream was Achin Pakhi. Since I immersed myself in the songs of Lalon Sai, I wanted my guru and Lalon Fakir to live on in me. I have tried to convey to my students, in the guru-disciple tradition, the path of Sai as a complete human being. Not just the form of man, but that they be enriched with humanity in life and move forward.

Views Bangladesh: You were born just after the Language Movement, witnessed the Liberation War, the mass uprising of 1990, and most recently the 2024 uprising against the ruling class. How far has liberation from exploitation gone?

Farida Parveen: One must reform oneself. If we cannot attain self-purification, nothing will change. Sai said, “Speak the truth, walk the right path, O my mind. If you cannot recognise the true path, you will never behold man.” Falsehood is entwined within us. We have mixed falsehood with truth. But truth must be embraced truthfully, with self-purification. This is Lalon Sai’s teaching. He sought to express this in many songs, to speak of human welfare. That is why we must remain alert, purify ourselves. Then, whether you speak of country, nation or family – it will proceed on the path of truth. Those who follow truth will have courage, they will have no fear. Thus without self-purification, the country’s disorder will not end. Allah says, Bhagwan says, Ishwar says – one must rely upon Him. I say this as a Muslim.

Singer Farida Parveen and editor Rased Mehedi

Views Bangladesh: Time and again we have seen Baul singers subjected to physical and mental torture in this country. After 5 August, such persecution increased further. What is your reaction?

Farida Parveen: I believe, why should I commit injustice against another? Each person does his work. Who are you or I to interfere? But it is also true nowadays that restlessness has entered song, which is not sung in Lalon Fakir’s songs. His message is a song of the spiritual world. A person may sing well, but when dancing and frivolities are added, many unnecessary things happen. Viewers may then see it as unruly and try to resist it. Still, I say, resistance is not needed, one must try to explain. With discussion, do what is possible. For sixty years I have sung Lalon. Where in my singing, words, or conduct has anyone ever found unruliness? No, never. I have spoken with clarity and firmness.

Secondly, some tunes are coarse. But melody has an appeal, and it is surely divine. Whatever your religion, melody is divine. If I speak as a Muslim, melody is such that without the call to prayer in Hazrat Bilal’s voice, dawn would not come. Morning would await, expect when Bilal would call the azan so that it could arrive. How deep this is. Whether people accept it or not, this is from Hadith. Yet people now do as they please, which is not right. But those who are true devotees of Lalon, who meditate on him, do not act like this. They sit calmly and present his songs. From the beginning I have seen this. When I first sang “Speak the truth, walk the right path”, it received so much love that people asked for more. But I did not betray music. I spoke the truth, that I had not yet learnt fully and would sing after learning. These matters are so deep, so divine in resonance, they cannot be expressed in words, only felt.

That is why I say, whoever it is, however great a fakir, I do not like vulgar or distorted presentations of Lalon’s message. I have come through the original gurus. I do not pick up CDs or YouTube casually. For sixty years I have practised, absorbed, surrendered. Whether I have succeeded or not, I do not know – my people will say.

Today the whole world calls me a Sufi artist. Allah has taken me to Morocco, Tunisia, Algeria, Belgium, and there they accepted me as a Sufi artist. In France I have recorded and even worked on joint projects with French music.

Views Bangladesh: For the needs of your artistic life you have travelled widely at home and abroad. Suppose you hear someone alone, singing your song in joy – how would you explain that feeling?

Farida Parveen: That cannot be analysed, it is a matter of experience. Truly, I give thanks that Lalon Sai’s message resides within me, that when I sing it carries a kind of intoxication of melody. Whatever happens, whatever will happen, is destined. Nowhere have I ever been disrespected. I am grateful to all people. What songs do I even sing! I do not know, but perhaps through my singing a spiritual awareness awakens in them. To the Lord of the universe alone I give thanks.

Views Bangladesh: Sheikh Mujibur Rahman once wept listening to your song. Would you tell us that story?

Farida Parveen: It was after Independence. Possibly during the inauguration of the Transmission Service Room, Sheikh Mujibur Rahman was present. My guru Muksed Ali Sahib had me sing there. I recorded 12–14 songs through the night. I remember Ustad Fuljhuri Khan saying, after hearing my voice, that in all his years of classical practice he had never encountered such a voice. Many others said the same. Freedom fighter Shahidul Islam was then director of the Transmission Service. The examiners there were Kamal Dasgupta, Kader Jamil, Abdul Hamid Chowdhury, Fuljhuri Khan. They listened to my singing. Since childhood I had the habit – if asked to sing, I would sit and begin at once, never caring who was a great ustad. After I sang, the examiners praised me.

Shahidul Islam, a language movement veteran whom Sheikh Mujib loved greatly, was told by Mujib: “What are you up to? Have you had some girl record songs?” Shahidul replied, “Leader, I will not say anything, you listen.” Then I sang “Kachher bhetor achin pakhi.” After listening, Mujib’s eyes welled with tears. He told Shahidul Islam: “Do whatever you wish, but make this girl the centre of a festival. At that festival, only Lalon, nothing else. Establish her in Lalon.” Later I inaugurated that festival with song in Mujib’s presence. He was very pleased. Shahidul bhai said: “Where your song brought tears to Mujib’s eyes, what more could you want?” I remember it clearly. Then I sang “Take me across the river,” “Near the house is the mirror city,” “The unknown bird in the cage,” “When will union come.” Those four songs were performed, inaugurating the Lalon Festival. I regard that as my life’s sustenance. To this day, the songs I have sung – folk, modern – remain among the richest in Bangladesh. Songs such as “You have forgotten Mallika-di’s name,” “If the thorns of slander do not pierce the body” – they have not been erased.

Views Bangladesh: Would you explain the mystery behind “You have forgotten Mallika-di’s name”?

Farida Parveen: How can I explain like the poet who wrote it? But as far as I know, every poet-writer has someone beloved in their mind. That is the sentiment of this song. Perhaps the poet loved someone called Mallika-di in his subconscious, or admired her from afar. Maybe in the same village, in such a setting. It seems like a true story. When the song mentions picking mangoes, maybe they had a brief meeting or touch – small expressions of love, like in the lyric, going to Mallika-di’s pavilion at noon.

Views Bangladesh: How was Mallika-di’s song recorded?

Farida Parveen: I learnt it, then recorded it. In 1968 I sang for Rajshahi Radio. I passed in Nazrul and modern songs. There for the first time the song was broadcast. Another song too, “If the thorns of slander do not pierce the body.” Both were selected as best songs of that month. At that time nobody had seen me, only heard my voice, and gave recognition. That is why I always give special regard to radio. Then I was never seen, only my voice was acknowledged. Now one sees and hears much, but I remain deeply grateful to Bangladesh Television and Radio.

Views Bangladesh: On grounds of security or objection, Lalon or Baul fairs are being shut down in different parts of the country. How do you view this?

Farida Parveen: Since Lalon Sai’s lifetime the Lalon fair has continued. Do they go around with sticks, beating people? Then where is the problem? Why should security arise? Why is security needed to listen to songs? I myself have sung through the night. At Lalon fairs, people listen all night, whether or not they understand, they savour it.

It is said Lalon Sai was born and died on the same day. This year too the gathering was immense. Those who organised it deserve thanks. Researchers speak at the fair, and hearing them brings self-purification. My words too surely have some value. I have carried Lalon Sai’s message worldwide for decades. The fair has continued all this time, why not now? It must continue. Security must be provided. The district administration, SP – they must give security. The fair must not be stopped.

Views Bangladesh: After the uprising, our culture has suffered serious political blows. Your view?

Farida Parveen: A country is identified by its culture. I understand simple truth: everything must now be upgraded. Music and everything related must keep moving. Honestly, not just now, since the pandemic there have been no programmes. How shall we survive? We have earned fame, but Baul, fakir, instrumentalists have lived with hardship and are now in hardship. This must be understood. Yet I remain hopeful. By Allah’s grace our fund is becoming stronger, I salute Dr Yunus. Now a few small programmes are happening, but not enough. Once we had no time – one programme after another, travelling abroad. That is no longer the case.

Views Bangladesh: Why do we no longer see eminent musicians like Abdul Hamid Chowdhury, Kamal Dasgupta, Samar Das, Abu Zafar, Kader Jamil being born?

Farida Parveen: Music is guru-centred knowledge. One must practise at the guru’s feet until his death. Secondly, let me say clearly – television channels have ruined the world of music with cheap reality shows. They have destroyed continuity. Much manipulation goes on. The truly first is not placed first. I have been judge many times, I know. There is also business here. They give cars, money, flats. Yet in fifty years I could not buy a flat, I could not gather ten lakh taka. But I can proudly say, I gave my children the best higher education. Guru-centred learning is gained through dedication, hence this situation. If this continues, the future is clear. Still, I hope good artists will emerge.

Views Bangladesh: In 2017 you performed Lalon songs in Hindi before India’s late President Pranab Mukherjee and dignitaries. Tell us that story.

Farida Parveen: At that time Indian High Commissioner to Bangladesh was Muchkund Dubey, now deceased. He had heard my singing, he knew Bangla, read it. He could not forget my song. From that came his wish to translate Lalon into Hindi. I did not know him. One day he said, “I am Muchkund Dubey.” In mixed Hindi-Bangla he said: “Farida, your song touched me deeply. I will invite you to my office.” Wherever he went, he spoke of me. He first asked me to sing “Paar-e ke jabi Nabir noukate aay.” He was Hindu, yet spoke of the Prophet’s boat – I believe he embodied unity of religions. Lalon too united all – theologies of body, Allah-Prophet, Radha-Krishna, soul and human soul. For Lalon, man is truth. The essence is surrendering in song. Dubey translated 105 of Lalon’s songs into Hindi and said he would have me alone sing them. At his house he gave me three songs – “Near the house is the mirror city,” “Unknown bird in the cage,” “When will union come.” That began our relationship. He often came to my academy, gave me harmonium, tanpura. I learnt four-five songs, then he took me and Gazir Abdul Hakim to Delhi. There he arranged tabla, accompaniment, and I learnt and recorded twenty songs.

In 2017 at Rashtrapati Bhavan, Pranab Mukherjee unveiled the Hindi translations of Lalon songs. Muchkund Dubey translated 105 songs. Nearly all of India’s Parliament was present, along with then Information Minister Hasanul Haq Inu, Professor Anisuzzaman, Bengal Foundation. I performed two songs, one in Bangla, one in Hindi. The Bangla was “Take me across the river,” the Hindi was “Near the house is the mirror city” (Pinjre ke bhitar, anchi ka kanchi keche aaye jaye). After singing, Pranab Mukherjee himself came forward, embraced me, saying: “Daughter, you sang so beautifully in Hindi. You are Bengali, you are my daughter from Bangladesh. I am very happy. I bless you to grow greater.” His security urged him away but he lingered. I saluted him, not as Indian or Bangladeshi, but as my elder. The honour Dubey showed me I will never forget. May Allah grant him the highest place.