7. Picnic

From November to April several hundreds of vistor all over Bangladesh come to visit Kabi Jasim Uddin House and spends the day with educational program and picnic.

Visit Jasim Uddin House, Ambikapur, Faridpur

All the items belong to Palli Kabi Jasimuddin Sriti Sangho - Register no - Faridpur Pha 66-
President Dr. Jamal Anwar


  • 1.1- 2014 -Kabar - Family Gravyard
  • 1.2- Kacharigahr Guest Room
  • 2. Museum

  • 2.1 Monimala Monihar Museun
  • 2.2- Prof Nooruddin Museum
  • 2.3- Ansaruddin Museum

  • 3. Inside the House
  • 4. Women Center at Village Ambikapur
  • 5. Hasu Mia's Pathsala- Music and Dance Center
  • 6. Sewing Center
  • 7.Picnic
  • 8. Jasim Uddin, Ambikapur 1904-33
  • 9. Memories
  • 10.Geeta Dutta - Proud of Faridpur
  • 11. Gazir Gan Festival on Poet's Birthday 01. 01. 2009
  • 12. Jasim Palli Mela 2009


    O babu, many salams to you
    My home is the Padma river
    We cook on one bank,
    We eat at another
    We have no homes,
    The whole world is our home,
    All men are our brothers
    We look for them
    In every door….."
    (Jasim Uddin)

  • Babu Salam Barebar

    Bengali Folksongs sung by Poet Jasim Uddin , July 24, 1958, Interview Henry Cowell. Courtesy Libary of Congress, Washington, D. C. USA

    jasim at 30 The greaest experience of my life is village life. Today modern educated people avoid and abhor village-folks. In my early life I had tried to prove that the people we look down upon are really very beautiful people...(Jasim Uddin)

    Jasim Uddin poet and litterateur, poet of the people of Bengal ("Pallikabi")

  • jasim uddin potrait by <em>Nakhatra</em>

  • Ittadi - Jasimuddin House - Faridpur 29 January 2016 Hanif Sanket

    Kabi Jasim Uddin House

  • Tribute to Kabi Jasim Uddin
  • Ambikapur, Faridpur
    Google earth tag:

  • Jasimuddins house at Dhaka Banlgadesh


  • Jasimuddin - Poet of the people of Bengal-
    A film by Khan Ata 1978

  • Amar Kantho I - Voice and Songs of Jasim Uddin Part I
  • Amar Kantho II- Voice and Songs of Jasim Uddin- Part II

  • Bengali Folksongs sung by Poet Jasim Uddin , July 24, 1958, Interview Henry Cowell. Courtesy Libary of Congress, Washington, D. C. USA

  • A rare video - A film by Hasna Jasim uddin Moudud, 1974
  • Sujon Badiar Ghat (Gypsy Wharf)- Jasim Uddin
  • BBC interview of Poet Jasim Uddin by famous novelist Syed Shamsul Haque, BBC, London, 1973

  • Bedermeye- - Jasim Uddin's famous musical and drama on oppressed and neglected gypsy folk: Part I
  • Bedermeye- - Jasim Uddin's famous musical and drama on oppressed and neglected gypsy folk: Part 2

    © Jasim Uddin

    I. Introduction

    Jasim Uddin was born on January 1, 1904 (Accoding to his Matriculation Certificate, Prof. Aminul Islam, Jasimuddin, 1962), in a small village, Tambulkhana, in the Faridpur district of East Bengal. That was his grandparent's village, only eight miles from his parent's home in Govindapur (at that time Padma river was flowing by Govindopur). He has described these two villages and their manner of life in his autobiography. Many scenes from The Field and Gipsy Wharf have their setting in these villages. In those books Jasim Uddin is writing of a time when the land of Bengal had fewer problems than present day.

    He lived about 32 years at village Ambikapur, and left fot Kolkatta after he had finished B. A. examination from Faridpur Rajenra College.

    by hasem khan, sujon badiar ghat
    when jasuimuddin was a boy Padma was flowing by ambikapur house
    Padma shifted from here



    poets elder brothers room

  • Tui Phele Eshechhis Kare

    Painted Root of Trees by Sagar

    Tree planted by Jasim Uddin

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    Newly opened Modhumala Gallary March 2016

    Shora of Bangladesh

    According to most scholars, the earliest evidence of painting from this deltaic region dates back to not more than three thousand years. In the absence of any specimen from the previous ages, one may find its residue in the form of art that connects the present day practices to those of the past, (especially through “broto alpana”), one which continues to this day in one form or other.

    Elements that seemed to give off a sense of “the primordial” are still surviving in folk art, in which we may find a continuation of the art of even the pre-historic age.

    The commitment to repetition and continuity is what rituals are all about, and through this regenerative principle, a visual culture based on certain belief-bound scenography is kept alive and handed down from generation to generation.

    Dwelling on the physical elements that are in use in all forms of rural art practices, we come to realize the ephemeral life-span of such productions.

    Done on clay-potteries, they are discarded as soon as they have served their purpose following the ceremonies they were an important part of. What is valued in the end is the lore, which is an eternal source of inspiration for every generation.

    All forms of folk art are deeply linked with communal life as well as rituals and beliefs. The rural artisans came under threat of extinction only when traditional life was thwarted in the face of colonial incursions. The surge of interest as well as the effort in archiving these time-tested art forms among some of the urban elites in the nineteenth century can easily be linked with this “new order”, one that began to dislodge the old socio-economic matrix. As the anti-colonial, nationalist movement gained momentum, these groups of people became more intent on saving/preserving what they began to consider as national heritage. Though they actually formed the upper crust of the urban educated gentry, their interest and work sent them meandering through the rural landscapes in search of art objects in the subaltern households.

    Following partition, in 1947, Shilpacharya Zainul Abedin, organized two folk art exhibitions of his own accord -- one in 1954 and another in 1958 -- in the art institution that he helped to bring into existence. As a follow up to those efforts, he started to build an archive of folk art in his newly-established institution. But the enterprise got nipped in the bud due to non-cooperation from those very students whom he had earlier sent to Europe and America to obtain higher degrees in modern Western education and later instated as teachers of his institution (NISAR HOSSAIN .

    There are evidences that the Acharyas of Mymensingh and Faridpur regions were once engaged in various visual practices– they painted all kinds of pictures. Making idols of temple mandaps (platforms) was their foremost responsibility, but they would also work as painters.

    Some experts are of the opinion that the fall of the Acharyas from the social hierarchy made way for the kumbhakars (potters) to take up the job of painting to fill out the vacuum. Jasim Uddin And Zainul Abedin advocated to preserve this culture

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    I.1 2014 -Kabar - Family Gravyard

    "Hier lies your grandmother's grave
    Under the pomegranate tree
    For thirty years my tears have kept it
    Wet and green...
    Fold your hands and pray oh God
    Grant heaven to all death-striken souls.".

    Jasim Uddins father, mother, wife, brothers and sisters, eldest son are all laid to rest here:

    I.2 Kacharigahr - Guest Room

    Kacharigahr or Guest Room was the most important part of Jasim Uddin's parent house. Now this guesthouse is again reconstructed with posters and pictures. This may be mentioned that among many reknown visitors Poet Kazi Nazrul Islam stayed here twice in 1930s

    Nazrul Islam was Poet Jasim Uddin's best friend- Nazrul visited twice Ambikapur

  • Kazi Nazrul Islam
  • tumi shundor - nazrul geeti
  • Eto Jol O Kajol Choke. Nazrul Geeti by Anup Ghosal
  • Kazi Nazrul Islam

    Kazi Nazrul Islam was called a 'dhumketu' or comet by Rabindranath Tagore for his rebellious style of writing. The film traces the life of Kazi Nazrul Islam, the sources of his inspiration and how his poetry came to reflect his fiery and rebellious spirit. Nazrul was deeply inspired by the Bolshevik revolution, the communist ideology and in line with his political thought processes, he wrote a poem titled "Autobiography of a Vagabond". His spirit of rebellion for change made him join the army during the World War I. However, during this time, he learnt Persian and Arabic and brought the ghazal genre of North Indian music to Bengal. Nazrul became a prolific song writer with over 3000 songs to his credit.

    In May 1925 at the Congress session at Faridpur, in the presence of Mahatma Gandhi and Deshbandhuchittaranjan Das, Nazrul sang 'Ghor re ghor re amar sadher charka ghor' (Whirl, O my dear spinning wheel, whirl). Towards the end of 1925, Nazrul joined politics and attended political meetings at Comilla, Midnapore, Hughli, faridpur, Bankura and many other places. Apart from being a member of the bengal provincial congress, he played an active role in organising the Sramik-Praja-Swaraj Dal.

    In November 1926, Nazrul contested from East Bengal for a seat in the upper house of the central legislative council. In this connection he extensively toured East Bengal, Faridpur, especially Dhaka division.

    nazrul's writing

    Songs of Nazrul

    Proud daughter of Faridpur

  • Best of FirozaBegum
  • Firoza Begum - Mora Aar Jonome
  • Naun Bhara Jal -Firoza Begum
  • AMI CHIRATARE DURE CHOLE JABO (1979) Firoza Begum Nazrulgeeti Sur Chitta Roy Jani Jani Priyo Ejibone ... Nazrul Geeti by Firoza Begum

    Firoza Begum

    Firoza was born in a Muslim family in Faridpur District, in what was then British India, on 28 July 1930 to the zamindars of Ratail Ghonaparha.   She became drawn to music in her childhood. She started her career in 1940s.
    She first sang in All India Radio while studying in sixth grade. She met poet Kazi Nazrul Islam at the age of 10. She became a student of him.

    In 1942, she recorded her first Islamic song by the gramophone record company HMV in 78 rpm disk format.
    Since then, 12 LP, 4 EP, 6 CD and more than 20 audio cassette records have been released. She lived in Kolkata from 1954 until she moved to Dhaka in 1967.

    In her carrier she bagged numerous awards and conferred with honours. Swadhinata Award, Ekushay Award, Netaji Shubhash Chandra Bose Award, Satyajit Roy award, Nasiruddin gold medal, Nazrul Academy award and , Meril-Prothom Alo lifelong honour and D.Litt from Burdwan University were conferred on her.

    Firoza Begum, singer: born Faridpur, British India 28 July 1930; married 1956 Kamal Dasgupta (died 1974; three sons); died Dhaka, Bangladesh 9 September 2014.

    Kabir Agina - Inside the House

    New image from Kabir Agina:

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    2. Museum

    No money or any help has been obtained from the Government or from any of my family members - some of them are ministers during AL and BNP governments. After the death of Poet Jasim Uddin, 38 years ago, this house, began to disintregate and disappear. It is peoples initiative as Jasim Uddin is the poet of people of Bangladesh.


  • Jasimuddin - Poet of the people of Bengal-
    A film by Khan Ata 1978

  • Amar Kantho I - Voice and Songs of Jasim Uddin Part I
  • Amar Kantho II- Voice and Songs of Jasim Uddin- Part II

  • BBC interview of Poet Jasim Uddin by famous novelist Syed Shamsul Haque, BBC, London, 1973

    You can see Jasim Uddind's manuscript, books, photos etc at the newly opened museum. The whole house is a museum trees with loving birds (Jasm Uddin used to put water pot (Matir Kalsi) for bird nests, his kacha ghar, Varanda, windows, doors are kept as it was, when Jasim Uddin was living. Pavement, little pond (Maithal, fills water in rainy season). longing for Jasim Uddin:

    I shall come to you sailing Padma river
    Whose ebb and tide carries
    The sweet scent of the tall green grass,
    In the sky clouds wear vermilion of god Shaym( or Krishna, god of love).

    You have filled that cloud with your feelings
    Such a letter you have written in the cloud,
    All my life I read that letter yet it is not all read.
    I shall come to your country rowing a red panshiboat (country boat).

    For you I have gathered a kuch flower necklace.
    I shall come to you sailing a river of tears
    Like the pouring clouds of a monsoon sky.
    Like its blazing lighting
    I shall burn and die in your bosom.
    Jasim Uddin

    Many visitors come from all over Bangladesh and abroad. A visitor from Jessore was saying, "This is only museum, where the past has immortalized. As if, Jasim Uddin still lving here!"

    Even after thirty years death of Poet Jasim Uddin nothing has been done by the Governments of BNP, Awami League or at present regime. We offered Governments to open national museum at poets residence to preserve heritage of tradition and true culture of Bangladesh but this was not accepted.

    What we need more urgently now is the strategic vision of what the government must do, how to do and when these visions would become a reality. This would bolster the people to act as a united force of the nation on different fronts, the way the people reacted on the political front to the call for independence in 1971. On our small effort we have started a small museum at Poets residence at Ambikapur, Faridpur.

    2.1 Monimalaer Monihar Museum

    Poet Jasim Uddin's wife Momtaz Begum died on January 4, 2006. After her death a nuseun after her name opened at Ambikapur, Faridpur.

    Momtaz Begum at the age of 14.
    After the death of Momtaz Jasimuddin a museum was opened
    on 21 June 2005- named "Monimalaer Monihar"
    chief justice visiting 2009
    Museum at ambikapurmuseum at Ambikapur

    2.2.Prof Nooruddin Memeoial Museum II

    prof nuruddin
    Museum 11,Prof. Nooruddin Museum

    Museum II,
    Prof. Nooruddin Museum

    Originally it was a tin bunglow used by poet's parents,
    Prof Nooruddin Ahmed constructed this building in 1963 and the same year he died.
    Now it is Prof. Nooruddin Ahmed Museum since February 2007

  • Museum II- visiting DC, Div. Commissioner

    2. 3. Ansaruddin Memorial Museum III

    Poet father Ansaruddin died in 1942. Jasim Uddins love to his father was great. In 2009 Ansaruddin Memorial Museum was opened to all public. He wrote to his son that all his success is from the blessing and love from his mother and father.

    Abinranath Tagore painted Nakshi Kather Math in 1930 but no printer could print it:

    painted by abinranath Tagore

    A village here, village there,
    And a broad field between-
    A page to read all written over
    With cropps and rice so green
    This village beneath the tall trees
    Plays at hide aand seek.
    Here iand there the peasants' huts
    Among the shadows peep.
    That village lies closely bound together
    By the blackended-eyelash gloom -
    All-enfolding shade enhancing
    The charm of the cottage home.

    This village looks to that,
    And that one looks to this;
    Who knows how many days will pass
    Just like this?.........


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    3. Inside the House

    parimal sings every 1st of a month
    kabir barir am
    jasim uddin's tin bunglow
    on jasims death anniversary
    poets elder brother's  bunglow
    Museum II

    O Beauty!
    Why would I wear the necklace again?
    When my bosom friend is away from the world.
    (You) Tell my friend, when she comes
    Radha has lost her life
    In agony of separation from Krishna.

    jasimuddinds favourite muri, puffed rice
    A traditional puffed rice called muri is made by heating rice in a sand-filled oven. Muri is to rice just like popcorn is to corn. The processing involved makes rice less perishable. Muri is a staple food in many parts of Bengal and Bangladesh. Jhalmuri or masalamur is a very popular preparation made from muri. Jasim Uddin's most favourite food was Muri, he was known at Ambikapur as "Muri Pagla Jasim" (Jibon Katha, , Jasim Uddin, 1962)!

    Making Muri Puffed Rice

    Joygun Nessa's life revolves around rice: she eats it; her family raises it on their farm; and it supplies her with a livelihood: making muri (puffed rice). Rice and salt and sand--as a medium for puffing the rice--are all she needs. Ms. Nessa, however, does not use just any old rice. She recommends IR8 developed by IRRI or BR11 for the best results.

    To prepare her specialty, she uses a clay stove in which the fire is underground. It uses one-third less fuel than other stoves, which is important in a country suffering from fuel shortage. She has been using the stove for about 7 years. Squatting by the stove, she stokes the fire by throwing fistfuls of wheat straw down the stove's holes. Sometimes she uses balls of cow dung, rice hull, and sticks for fuel. The heat produced is intense. Over one of the holes, she heats up a large clay pot with sand in it. Rice in salted water is warmed in a small pot over a different hole. She stirs the rice with a naruni, a utensil made of palm-midribs bunched together.

    When the right temperature is reached, she skillfully pours the rice into the big pot with the sand and swirls it for 30 seconds. Suddenly, the rice becomes alive in a burst of steam and fills the pot. Nessa knows exactly when the rice is done puffing. If she hesitates a moment too long, the rice will burn. With the precision of a master chef, she dumps the contents into a clay strainer and shakes out the sand. The muri is warm and mildly salty, with a nutty taste. She makes it every day so that it's fresh for her customers and family.

    jasim's house jasimhouse

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    4. Women Center at Village Ambikapur

    women centre
    famous blind singer from Bhanga
    sewing certificate ceremony

    (NARI) which means women in Bengali founded in 1986 and having United Nations status since 1998 connects many organizations and women who represent a cross section of entrepreneurs, social workers, lawyers, environmental and educators who believe charity and welfare are not enough to improver status of women and improve overall condition of women and improvement of environment. NARI is also very conscious of Climate Change consequences for Bangladesh and is sharing information.

    In 2002 NARI branch of women entrepreneurs and handicraft workers was established in Ambikapur, Faridpur. Sewing machines and trainers on a regular basis were provided. The center trained 200 young women. In this ongoing activity, they operate a shop of handicrafts in a rural area. Many young women operate their own small sewing businesses. It has been a most successful NARI activity.

    In Faridpur NARI also helped provide arsenic free water and helped arsenic affected women to establish small businesses. Neem tree plantation is another regular ongoing activity maintained during the 2002-2005 period. NARI women learned about their rights and took part in community activities.

    NARI helped women arsenic victims in Faridpur by supplying arsenic free water and helping the women to be more reliant by learning sewing.

    Note by the UN Secretary-General (12 March 2007, E/C.2/2007/2/Add.24)

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    5. Hasu Mia's Pathsala - Music and Dance Centre

    Now a music and dance centre have been opened for the poor family:

    Jasim Uddin sent postcards to his sons hashu and bashu painted by famous painters like Qamrul Islam

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    6. Women's Sewing Center

    Newly opened sewing learning center with 20 students from poor family - headed by Mrs. Madhury Rani Shil.
  • O babu, many salams to you
    my name is Goya the Snakecharmer,
    My home is the Padma river.
    We catch birds
    we live on birds
    There is no end to our happiness, For we trade,
    With the jewel on the Cobra's head.

    "We cook on one bank,
    We eat at another
    We have no homes,
    The whole world is our home,
    All men are our brothers
    We look for them
    In every door….."

    Black is the ink in my inkpot, from the pen with which I write
    Black is the pupil of my eye with which I see the world
    Oh Thou my dark Beloved, thou wilt not let me stay
    a peace in my room.
    A song

    A boy of this village has long dark curls
    A dark and bee-black face
    That glows as brightly as the flowers
    And fresh as the young rice blades.


    Black is the pupil of my eye,
    Black the ink with which I write
    Black is birth, and Death is Black
    Black is the universal Night.
    Black is the Son of the Soil and yet
    Victor is he of All!
    He who with gold
    Has credit small.

    Only give me the colours, Brother,
    And I, even I,
    Can make the garland of the rainbow,
    Span the stormv sky !
    Nor gold nor brass, nor face of gold
    Brings universal joy,
    But only the shining ebonv face
    Of the smiling peasant boy.

    Black is the paddy in his fields,
    His village too is black;

    O my dearest mate!
    Hark! there who plays on flute under the Kadamba tree;
    Bring him to me, I give my necklace to thee,
    Who plays on flute so (sweet), how is he,
    Tell me.
    Pray don't try any tricks,
    My mind feels, my tears his flute appreciates.

    Nadir kul nai kinara nai re
    O ami kon kul hote kon kule jabo
    Kahare sudhai re
    Opare megher ghata kanak bijuli chhata
    Majhe nadhi bahe sai sai re
    Ami ai horilam sonar chhabi
    Abar theki nai re.

    It sings;

    The river has no bank, no shore
    Which bank shall I leave, to which I go?
    From whom this shall I know;
    The cloud arrays itself on the other bank,
    golden flashes paint,
    The river speeds along under the pressure of rain.
    I see a picture golden I see it no more again.

    Black Cloud, come down, come down
    lower-bearing Cloud, come down, come;
    Cloud like cotton, Cloud like dust,
    O let your sweat pour down!
    Blind Cloud, Blind Cloud, come,
    Let your twelve Brother Cloudlets come,
    Drop a little water that we
    May eat good rice.

    Straight Cloud, Strong Cloud, come,
    Lazy Cloud, Little Cloud, come,
    I will sell the jewel in my nose and buy
    An umbrella for your head!
    Soft Rain, gently fall,
    In the house the plough neglected lies,
    In the burning sun the farmer dies,
    O Rain with laughing-face, come!'

    Key to women's liberation is secularism and the establishment of egalitarian political systems. Secularism has been and continues to be a prerequisite for women's liberation

    women center

    women center- wide acceptance 2006Three great religions of Bangladesh, i. e., Hinduism (Modern hinduism is the result of a blending orthodox Brahmanism with non-Aryan materialistic superstitions) which came earliest, Buddhism second and Islam. There is no denying the fact, the oldest inhabitants of Bangladesh known as Australoid, then the Dravidians, Aryans and the Muslims made a chequered history of this region and the Nakshi Kantha (An embellished quilt embroidered in traditional motifs and innovative style by rural women of Bangladesh) found a unique character as a multi religious product and also a multiracial expression.

    The story the kantha is rooted in the history, culture, civilization of Bangladesh since thousands of years The art of kantha embroidery carries a language that is universal, drawing from the well of mankind's primitive and traditional art knowledge, and giving to the world a priceless cultural heritage. Kantha (Quilt) is a product of a non-literate society with psychological and cultural tradition of Bangladesh.

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    6. Jasim Uddin, Ambikapur 1904-33

    Poet Jasim Uddin became very famous from this house, where he lived 1904 to 1933. Here he has written his famous poem Kabar, Nakshi Kather Math, Sujonbadiar Ghat, Rakhali

    Bangladesh is a country of rivers.Like the tendrils of a creeper, or like the ornments hanging on a women's limbs, the sweeping curves and half-curves lines of innumerable rivers have traced a network over the fields. In rainy season number of people take to their boats. The songs of the countryside are the voice of the river. Who is he, the unknown, unvisible maker of the village tunes, stroking the rivers with his softfingered wavy hands as a player strokes the strings of an instrument, creating the many-coloured songs of Bengal in the bhatiali tunes. (From: Folk Songs of East Bengal by Jasim Uddin- Essays of Jasim Uddin Part II,Palash Publication, Dhaka, 2001).

    Jasim Uddin narrates that he has collected more than 10, 000 songs from different villages Of Bengal but the Gazir Song from Sibrampur, Faridpur was one of his best collection (please listen Amarkantho II). Jasim Uddin is very proud of the poor farmers of Bangladesh - traditionally people of Bangladesh have deep love for the all people of the world - liberty, universal brotherhood, freedom and peace for all people of the world irrespect of race, religion and colour.

    In 1922, Dr. Dinesh Chandra Sen of Dacca collected a small group of collaborators, and began gathering the ballads and folklore of East bengal. I was one of those who worked with him, helping to collect several volumes. Some of them were published with the english translations by the University of Calcutta; one volume was translated into French. Dr. Dinesh Chandra Sen was a true scholar with a genuine love for folk tradition, and he did more than any man before him to awaken in the educated public a sense of its beauty and value.....

    I had been born and brought up in a village and brought up entirely by cultivators, and the folk-songs were in my very blood. To me, unlike Dr. Sen, the tunes meant even more than the words : they embodied the meaning of the traditional life I loved.

    By the time Jasim Uddin was a student at Faridpur Rajendra College his poetry had already won him some fame. Kobor (Graves) was prescribed as the text for the Matriculation Examination at Calcutta University when Jasim Uddin was still a student in the 1. A. Class (Rajenra College, under Calcutta University, 1927) At the age of 20, Jasim Uddin became famous all over Bengal. Prof. Dinnesh Chanra Sen appointed him as a Ramtanu Laheri scholar.

    He published famous poetry books in 1927 Rakhali, 1928 Nakshi Kather Math, 1931 Baluchar, 1933 Dhankhet, 1933 Sujon Badier Ghat and in 1934 Hashu (Poems for Children) published from Kolkata by reknown publishers (Calcutta).

    Prof. Aminul Islam, University of Ohio (Publish a book on Jasim Uddin) writes that during the time of Ramtanu Lahari scholar, Jasim Uddin visted almost all rural area of Bengal and as a natural poet his mind was filled up with the treasures of folk culture and his music (Nishtte jaio Phulo bano, O daradi etc) spread all over Bengal. Jasim uddin is one the best folk poets of Bengal. He thought that Abbas Uddin will sing his songs to immortalize folk tunes in Bengal air, land and water. Many famous songs compose and tune by Jasim Uddin are seen in the market and broadcast by radio and tv but they forget mention the name of Jasim Uddin.

  • Nishite Jaio Phulobane.. Music & Lyrics by Jasim Uddin, Singer: S. D. Burman
  • Dhire se Janain hindi from Nishite jaio: Music & Lyrics by Jasim Uddin, Singer: S. D. Burman


  • Bandhu Rangila Music & Lyrics by Jasim Uddin, Singer: S. D. Burman
  • O Amar Darodi, Lyric & Music by Jasim Uddin, Singer: Abbasuddin
  • Nadir Kul Nai Music and Lyric Jasim uddin, Singer: Abdul Alim
  • O Amar Darodi Music & Lyrics by Jasim Uddin, Singer: Nirmallendu Chaudhuri
  • Amay Bhasalire..Lyrics and music by Jasim Uddin, Singer: Ferdausi Rahman
  • Ujan Ganger Naya Music &Lyric by Jasim Uddin, Singer:Nina Hamid
  • Tora Ke Ke Jabilo Jal ante Music and Lyrics by Jasim Uddin, Singer: Abbasuddin
  • Gahin Ganger Naya Bhatiali Song, Music and Lyrics by Jasim uddin; Singer: Syed abdul Hadi
  • Ami baya jaiya kon ghate Bhatiali Song, Music and lyrics by Jasim Uddin
  • Sharup tui BineMusic and lyrics by Jasim Uddin
  • Amay Bhasali Re.. Music and Lyrics by Poet Jasim Uddin, Singer: Runa Laila
  • O Amar Darodi Age Janle Music and lyrics by Poet Jasim Uddin, Singer: Runa Laila
  • Amay Bhasaili Re In Bengali and Urdu Music and lyrics by Jasim Uddin, Singer: Alamgir
  • Bandhu Rangila Rangila Music and Lyrics by Jasim Uddin Prod. Azad Rahman
  • Amy Baya Jai Kon Ghate Music and lyrics by Jasim Uddin
  • Boideshi Kanna Famous Bhatiali song Music and lyrics by Jasim Uddin

    Love Songs

  • Kemon Tomar Mata-Pita Kemon Tader Hiea Original Music and Lyric from Jasim Uddin dance by
  • Age Janinare dayal Music and Lyrics by Jasim uddin, Singer Neena Hamid
  • Amar Bandhu binodia Music & Lyrics by Jasim Uddin, Singer: Farida Parveen
  • Amar Bandhu Binudia Music and Lyrics by Jasim Uddin, Singer: Neena Hamid
  • Nishite Jaio Phule Bane Music & Lyrics by Jasim Uddin, Singer: Sabina Yesmin
  • Amay Ato Rate, Music & Lyric by Jasim Uddin, singer: Abbasuddin
  • Amar Galar HarMusic & Lyrics by Jasim Uddin, Singer: Sabina Yesmin
  • Oi Shon kadamo Tale Music and Lyric by Jasim Uddin, Singer: Abbasuddin Ahmed
  • Amar sonar Moina Pakhi Music and Lyrics by Jasim uddin, Singer: Neena hamid

    Murshidi Song

  • Rasul Name Music & Lyrics by Jasim Uddin, Singer: Farida Parveen

    Patrioc Songs

    Gypsy Songs

  • Snake Charmer / Babu Selam Lyric and Music Jasim Uddin, dance by Shibli & Nipa
  • Babu Selam Bare Bar  A gypsy song Music and Lyrics by Jasim Uddin

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    7. Memories

    jasimuddin's family graveyard, Ambikapur Faridpursaju by sukoor - 100 jasims birthday

    Family graveyard

    Poets Graveyard Jasim- 1974- standing by pomegranate tree- where is his graveyard  since March 1976


    Here, under the pomegranate tree, is your grandmother's grave;
    For thirty years my tears have kept it green.
    She was a little doll-faced girl when she came to my horne,
    And she wept to be done with the play ofher childhood days.

    Returned from my travelling onee,
    I suddenly knew She had been in my thoughts all the time.
    Like the dawn her golden face would blind my eyes,
    And from that day I lost myself among small joys of hers.

    Museum at ambikapurmuseum at Ambikapur

    Black is the pupil of my eye,
    Black the ink with which I write
    Black is birth, and Death is Black
    Black is the universal Night.
    Black is the Son of the Soil and yet
    Victor is he of All!
    He who with gold
    Has credit small.

    Only give me the colours, Brother,
    And I, even I,
    Can make the garland of the rainbow,
    Span the stormv sky!
    Nor gold nor brass, nor face of gold
    Brings universal joy.

    Nakshi Kathar Math

    painted by nando lal basu
    nazrul-jasimuddin 1973
    jaharlal neheru receives Jasim Uddin, Bomby 1961
    Fight for Inde. with sufia Kamal Palatan Maidan 1969 Bangla Sahyto Conf. 1974
    mujib and father regan Museum- Monimala
    jasim museum jasim museum
    Music Evening at Poets House jasim museum
    stamp on poets death letter written by jasimuddin
    sketched by qamrul islam written by jasim sketched by qamrul islam

    Come to Garden by Night

    Nishte Jaio Phul bane, O Bhomora

    Come to the garden by night
    My bee.
    I shal stay up the night
    Lighting the lamp of moon
    And talking to the dew drops
    My bee.
    Come to the garden by night
    should I fall asleep
    Tread softly my bee,
    do not break the branch
    Or crush my flowers.
    Or awaken the flower that is asleep
    come to the garden by night.
    My bee.

    Songs of Jasim Uddin

  • Nishite Jaio Phulobane.. Music & Lyrics by Jasim Uddin, Singer: S. D. Burman
  • Dhire se Janain hindi from Nishite jaio: Music & Lyrics by Jasim Uddin, Singer: S. D. Burman
  • Nishite Jaio Phule Bane Music & Lyrics by Jasim Uddin, Singer: Sabina Yesmin
  • Rangila Rangila - Lyrics and Music by Jasimuddin, Singer: Kiran Chandra Roy
  • Aan Milo Shyam Sanwre- eeta Dutt, Manna Dey Music: S.D. Burman Lyrics: Sahir Ludhiyanvi Film: Devdas. 1955
    Geeta Dutt, Manna Dey Music: S.D. Burman Lyrics: Sahir Ludhiyanvi Film: Devdas. 1955 Starring: Dilip Kumar, Vyjayanthimala, Suchitra Sen, Motil...
    Almost same music and lyrics of Rangila Rangila by Jasim Uddin

  • Jasim Uddin's Letters :

    letter to his son bashu jasimuddin ,son bashu at hospital kiel, germany 1973
    padma handwriting -jasimuddin
    cultural event at jasim's house nakshi by suraya

    Poet Jasim uddin wrote a letter to his son Dr. Jamal Anwar on 14. 11. 73. His youngest son's name is Khurshid

    Poet's mother's pond
    Children visiting museum

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    8. Geeta Dutt - Proud Singer of Faridpur

    MOST Bangladeshis do not know that one of the most famous playback singer of Bengali and Hindi movies in the 1950s and 1960s was the late Geeta Dutt is from Faridpur. Geeta Dutt (Geeta Ghosh Roy Chowdhuri) was born into a rich Zamindar family in Faridpur on November 23, 1930 and stayed there until 1942.

  • Remembering Geeta Dutt | Bengali Movie Songs
  • Best Of Geeta Dutt | The Legendary Playback Singer | Geeta Dutt Songs | Old Hindi Songs
  • Harano Sur - Tumi Je amar
  • Ye Raat Bheegi Bheegi - [UNSEEN] - Geeta Dutt & Bhushan
  • Nir Choto Hemanta Mukherjee, Geeta Dutt
  • Prithibi Amare Chai - Nishi raat baka chand, Geeta Dutt
  • Fagun Jane , Geeta Dutt
  • Ogo Sundoro , Geeta Dutt
  • Tumi Je Amar a vuboner , Geeta Dutt
    Indrani - Ogo Sundoro
  • Surjo Dober , Geeta Dutt

  • Magic Moments of S D Burman | Shono Go Dakhin Hawa
  • Suman Kalyanpur, Geeta Dutt, Mohd. Rafi

    Her major assignment came the following year, 1947, with Do Bhai. The music of that film clicked in a big way particularly Mera Sundar Sapna Beet Gaya and Geeta became a top playback singer. 1947-1949 saw Geeta Roy rule as the number one playback singer in the Mumbai film industry as she moved from strength to strength.

    However four films released in 1949. Barsaat, Andaz, Dulari and Mahal. All four smashing hits. The music of each film better than the other. In all four films, the heroine's songs were sung by a young lady who had also made her debut in playback singing but till then had not made any significant headway in her career. The success of these films and her songs changed all that. In particular, the song Aaega Aanewala from Mahal soared to heights of till then unseen popularity. ( It remains an all time favourite even today ) The singer was ... Lata Mangeshkar. Lata went on to become the greatest playback singer the Indian screen has ever seen. Only two singers managed to survive the Lata onslaught in the 1950s, Shamshad Begam and Geeta Roy. Though relegated to the second spot, Geeta managed to hold her own against Lata for more than a decade and she and Lata were the premier two female playback singers of the 1950s.

    Initially Geeta was a singer well known for bhajans and weepy, weepy sad songs. But 1951 saw the release of Guru Dutt's Baazi. The jazzy musical score of the film by SD Burman revealed a new facet to Geeta's singing.

    The sex appeal in her voice and the ease with which she went western was marvelous to behold. While every song in the film was a raging hit, one stood out for special appeal - Tadbir se Bigdi hui Taqdeer. Such was her impact that from then on in the 1950s for a club dance or a seductive song, the first choice was Geeta. During the recording of the song she met the young and upcoming director of the film, Guru Dutt. The two fell in love and the romance culminated in marriage on 26 May, 1953. Geeta went on to sing some of her best songs in Guru Dutt's films while continuing singing in various outside assignments as well. It was however a stormy marriage as the couple fought and made up repeatedly caused it is said by her suspicious and possessive nature as well as Guru Dutt's roving eye.

    SD Burman was among the earliest to discover the magic in her voice with Do Bhai. He effectively used the Bengali lilt in her voice memorably in films like Devdas (1955) and Pyaasa (1957). The song Aaj Sajan Mohe Ang Lagalo from the latter is one of the finest examples of the Bengali kirtan ever put over on the Hindi screen. In fact, no female singer has better articulated the spirit of Burmanda's music in its early years than Geeta.

  • Aaj Sajan Mohe - Geeta Dutt
  • DILRUBA -tum dil mein chale aate ho -Geeta Dutt
  • Geeta Dutt-Mera Sunder Sapna Beet Gaya(Do Bhai)
  • Geeta Dutt - Jaane Kya Tune Kahi - Pyaasa [1957]
  • Tribute to Guru Dutt and Geeta Dutt.

    Tribute to Guru Dutt and Geeta Dutt


    Guru Dutt was considered to be a man ahead of his time one of the greatest icons of commercial Indian cinema. He made about less than 50 films during his lifeti...

    Guru Dutt was considered to be a man ahead of his time one of the greatest icons of commercial Indian cinema. He made about less than 50 films during his lifetime, they are believed to be the best known both for their ability to reach out to the common man and for their artistic and lyrical content of the Golden Age. Guru Dutt and Geeta Roy fell in love and, although they faced strong opposition from their families, they married on 26 May 1953, and had three children. Their romance also seemed to bring a sparkle into Geetaji's voice, she sang some of her best ones in her husband's films. Geeta Dutt held a rare mellifluous tone in her voice that could fuel passion and all kinds of emotions into whatever song she sung.

    Later on the marriage started to hit rocky ground, Guru Dutts had gotten involved with Waheeda Rehman and as a result Geeta Dutt had separated from him. Waheeda Rehman too had distanced herself from him and this caused a vacuum in his life. Unable to cope with all the trauma and emptiness, he took to heavy smoking and drinking. Finally, on October 10, 1964 Guru Dutt was found dead in his bed, having committed suicide at the age of 39 . His death caused Geeta to suffer a nervous breakdown. To make matters worse, she was in a financial mess and due to all the stressful events around her she took to alcohol. Geeta Dutt eventually died at the age of 42 on July 20, 1972 from cirrhosis of the liver.

  • Insaan Jaag Utha - Jaanu Jaanu Ri Kaahe Khanke Hai Tora Kangna - Asha Bhonsle & Geeta Dutt
  • Geeta Dutta Composer: Pankaj Kumar Mullick Lyricist: Sardar Jafri
  • Asha Bhosle & Geeta Dutt "Tum Jiyo Hazaron Saal"
  • "Ayee Re Ghir Ghir Pehli Pehli Badariya" - Geeta Dutt
  • Geeta Dutt - Aye Dil Mujhe Bata De - Bhai Bhai [1956
  • Geeta Dutt "Aaj Ki Raat Piya"
  • Aankhon hi aanknon mein
  • Geeta Dutt "Piya Aise Jiya Mein"
  • Geeta Dutt-Yaad Karoge Yaad Karoge(Do Bhai)
  • Muzko Tum jo Mile (Hemant Geeta Detective)
  • Asha Bhosle & Geeta Dutt "Bachpan Ke Din"
  • Passport - Tauba Tauba Tauba Haaye Tauba Meri Maan - Geeta Dutt
  • Pyaasa - Jaane Kya Tune Kahi - Geeta Dutt
  • Jamuna ke teer Kana Aao --- Geeta Dutt's Non-Filmi Bhajan (From 78 rpm Record)
  • Geeta Dutt - Na Jao Saiyan Chudaake Baiyan - Sahib Bibi Aur Ghulam [1962]
  • Geeta Dutt - Piya Aiso Jiya Mein - Sahib Bibi Aur Ghulam [1962]
  • Aan Milo Shyam Sanwre -Geeta Dutt and others
    Almost same lyric and melody as bandhu rangila rangila by Jasim Uddin

    Some well-known Geeta Dutt film songs in Bengali include Tumi Je Amar (Harano Sur (1957)), Nishi Raat Banka Chand (Prithivi Amara Chhaye (1957)), Ogo Sundor Jano Naki (Indrani (1958)), Eyi Mayavi Tithi (Sonar Harin (1959)), Ei Sundar Swarnali Sandhya (Hospital (1960)) and Aami Sunchi Tomari Gaan (Swarilipi (1961)).

    Records are available at Kabi Jasim Uddin House, Ambikapur, Faridpur.

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    9. Gazir Gan Festival on Poet's Birthday 01. 01. 2009

    Gazir Gan songs to a legendary saint popularly known as Gazi Pir. Gazi songs were particularly popular in the districts of faridpur, noakhali, chittagong and sylhet. They were performed for boons received or wished for, such as for a child, after a cure, for the fertility of the soil, for the well-being of cattle, for success in business, etc. Gazi songs would be presented while unfurling a scroll depicting different events in the life of Gazi Pir. On the scroll would also be depicted the field of Karbala, the Ka'aba, Hindu temples, etc. Sometimes these paintings were also done on earthenware pots

    The lead singer or gain, wearing a long robe and a turban, would twirl an asa and move about in the performance area and sing. He would be accompanied by drummers, flautists and four or five dohars or choral singers, who would sing the refrain.

    Gazi songs were preceded by a bandana or hymn, sung by the main singer. He would sing: 'I turn to the east in reverence to Bhanushvar (sun) whose rise brightens the world. Then I adore Gazi, the kind-hearted, who is saluted by Hindus and Mussalmans'. Then he would narrate the story of Gazi's birth, his wars with the demons and the evil spirits, as well as his rescue of a merchant at sea.

    Although Gazi Pir was a Muslim, his followers included people from other religious communities as well. Many Gazi songs point out how people who did not respect him were punished. At least one song narrates how Gazi Pir saved the peasantry from the oppression of a zamindar. Another song describes how a devotee won a court case. In Gazi songs spiritual and material interests are often intertwined. The audience give money in charity in the name of Gazi Pir. This genre of songs is almost extinct in Bangladesh today. [Ashraf Siddiqui]

    The performance text is orally composed in rhymed metrical verse. Instead of a unified narrative, the text is essentially a mixture of three subjects: (i) description of the efficacy of the cult of Gazi Pir, (ii) comic moralising comments on social malpractices, and (iii) a list of the punishments that Yama, the god of the underworld, will mete out to people who lead immoral lives

    A Gazir pat is usually 4'8" long and 1'10" wide and made of thick cotton fabric. The entire scroll is divided into 25 panels. Of these, the central panel is about 12" high and 20.25" wide. There are four rows of panels above and three rows below the central panel. The bottom row contains three panels, each of which is 5.25" high and 6.25" wide.

    The traditional method of painting Gazir pat begins with the preparation of size from tamarind seeds and wood-apple. The tamarind seeds are first roasted and left to soak overnight in water. In the morning the seeds are peeled, and the white kernels are ground and boiled with water into a paste.

    The paste is then sieved through a gamchha (indigenous towel). The tamarind size thus obtained is then mixed with fine brick powder. In order to prepare wood-apple size, a few green wood-apples are cut up and left to soak overnight in water. The resultant liquid is strained in the morning, and the size is ready to use. A Gazir pat is generally painted on coarse cotton cloth. The piece on which the painting is to be executed is spread on a mat in the sun. A single coat of the mixture of tamarind size and brick powder is then applied on the side to be painted, either by hand or with a brush made of jute fibre. After it has dried, two coats of size are applied on the other side of the cloth, which is then left to dry. On the side to be painted, another coat of a mixture of tamarind size and chalk powder is applied. When the cloth is dry, it is divided into panels with the help of a mixture prepared with wood-apple size and chalk powder. When the prepared cloth is dry, the patuya starts painting the figures.

    Crocodile from the legend of Gazi Gazir Pir riding elephant

    Story-telling using painted scrolls or panels is known of in India from at least the second century BC. Many later paintings depict mythical narratives, whether on paper or cloth. This type of long scroll-painting was used by itinerant storytellers in rural Bengal, as a visual aid to a spoken narration of the myths and exploits of the painted scenes.

    Islam has been a major cultural force in eastern India since the twelfth and thirteenth-century Muslim invasions of the area. The fifty-seven registers of this remarkable scroll-painting may depict the many epic activities of a local Bengali Muslim pir, or saint, Gazi, including fighting with demons, overpowering dangerous animals and miraculously causing cattle to give milk. Gazi was renowned for his power over tigers; in one painted panel a male Muslim figure is seen receiving the homage of tigers and in another he is riding a tiger. These probably depict Gazi himself, as he was renowned for his ability to control the elements of the natural world, abilities of great importance to the newly evangelized Muslim population of southern Bengal as they penetrated and settled the dense jungles of the Ganges delta. Stylistically, the painting belongs to the period before the influence of European painting conventions, and photography. It is characterized by brilliant colours, flat backgrounds, the avoidance of techniques suggesting depth or volume, and the obsession with pattern and design. Similar features appear in other pre-modern Indian painting styles.

    Patachitra is one of the earliest forms of popular art in Bangladesh it has a very long and prestigious history. Dating from the 12th century, and existing even today these pats or scroll paintings narrated stories based on religious or moral themes for the entertainment of the village folks. It started in Bengali culture from more than two thousand years back.

    In earlier times it reflected various events and themes for their paintings from the Mahabharata, Ramayana, various legends, myths and religious stories , and later expanded the range by including many popular and secular stories of the land. One of the most popular themes of the 'patachitra' was the Gazi's Pat depicting the courageous deeds and conquests of Ismail Gazi, a Muslim general who served the Sultan Barbak in the 15th century.

    Patachitra, like many other popular folk art of Bengal such as pottery, the weaving of the Muslin and Jamdani, and jatra, was practised in families through generation after generation.

    The old folklore tells the story of Gazi Pir, a mythical warrior saint who battled demons, confronted the god of death, and worked miracles like restoring dead trees to full bloom, and getting dried-up cows to milk again. These and more such fantastic and colourful fables and legends have been immortalised through pat gaans and patchitra.
    The tales of Ramayana, Mahabharata, Muharram, Rass lilla, Monosha Mongol, Sri Krishna and Gazi pir usually being the subject matter of these folk paintings that narrate their stories frame by frame. The patuas or pat artists supplemented their illustrations with pat gaans or music ballads. The pigments were originally obtained from various natural sources: black was obtained by holding an earthen plate over a burning torch, white from conch shells, red from sindur (vermilion powder), yellow from turmeric, dull yellow from gopimati (a type of yellowish clay), blue from indigo. The patuya would make the brush himself with sheep or goat hair. Some of these techniques are still used today. However, the patuya usually buys paints and brushes from the market.

    Gazi Kalu-Champavati pir sahitya or saint literature, written in the style of panchali (The word, panchali, originates from panchal or panchalika, meaning puppet. Others believe that the word refers to the five elements of this genre: song, music, extempore versifying, poetic contests, and dance. In earlier times it also included a puppet dance. In the 18th-19th centuries, the puppet dance was dropped. Instead, the main singer would dance, wearing nupur (anklet bells), and holding a flywhisk and cymbals. At times he would act the part of different characters. The panchali underwent some changes towards the close of the 18th century when poetic contests, physical gestures and acting were introduced. In the 19th century dialogue for the principal singer was added as was the character of a clown who used to generate laughter by mimicking different social oddities through songs, recitation of rhymes or dances. Most popular among the social issues were remarriage of women, income tax problems, and the members of Young Bengal who were opposed to idol worship. The panchali later gave birth to the popular jatra songs. ) narrating the adventures of Gazi Pir in the tiger-infested forests of south Bengal and the story of his marriage to Champavati.

    The first reference to Gazi Pir as a rival of Daksin Ray, the god of tigers, appears in Krishnaram Das' poetic narrative, raymangal (1684), which describes their rivalry and subsequent friendship. At one time both used to be worshipped.

    Raymangal 17th century Bangla narrative poem about the folkloric tiger god, Daksin Ray, who was worshipped by ordinary people, especially in the sundarbans, in the belief that paying homage to him would ensure them safety from tigers.

    According to legend, Daksin Ray was an army chief of Mukut Ray, raja of Jessore. Conquering a large area, he set up as an independent ruler. At one stage he came into conflict with Gazi Khan and Gazi Kalu and was defeated. It was only after ceding part of his territory to them that he was able to make peace. These events form the theme of Raymangal, composed by a Hindu poet, and of gazi kalu-champavati, composed by a Muslim poet. Perhaps the first version of Raymangal was by the poet Madhav Acharya, but it is no longer extant. Another version was written in 1686 by Krsnaram of Nimita, near Kolkata, supposedly at the behest of Daksin Ray who appeared to him in a dream. A version of Raymangal was also composed by Haridev in 1723 and another much later by Rudradev.

    Raymangal is about a merchant named Puspadatta, who asks Ratai to collect logs from the Sundarbans in order to build a ship. Ratai goes to the Sunderbans with his six brothers and a son and returns with the logs. Puspadatta builds his ship, which he names Madhukar, and then sets off on a journey to recover his lost father. At Khaniya, which is on his way, he prays to Daksin Ray. Seeing the shrine of a pir, he enquires about its history and learns the story of the war and the subsequent peace between Daksin Ray and Gazi Khan. While crossing the sea, Puspadatta sees a vision of a unique city named Turanga on the surface of the water. On reaching the port, he narrates his experience to the king. But, failing to show the king the unique city, he is imprisoned. He prays to Daksin Ray and succeeds in securing his own freedom as well as the freedom of his imprisoned father. He then marries the king's daughter, Ratnavati, and returns home. There is some similarity between the story of Raymangal and the story of Dhanapati Sadagar in chandimangal.

    Raymangal contains a wealth of information about religious and social beliefs and practices of the period. It also contains important facts about south Bengal and the Sundarbans. Singers present Raymangal on the occasion of Daksin Ray's annual puja.

    Sheikh Khoda Baksh composed Gazi Kalu-Champavati, based on the story of Raymangal, in 1798-99. The poem narrates Gazi Kalu's journey across the country in the guise of a fakir, his battle with a certain Hindu king, the king's defeat and his conversion to islam. After Gazi Kalu mitigates the sufferings of the king's subjects, he marches on Brahmannagar. In the ensuing battle, the king of Brahmannagar is defeated and accepts Islam. Gazi Kalu marries the king's daughter, Champavati, and returns home. The poem also contains other related stories. In addition to human beings, the characters include gods, demons, supernatural spirits, fairies, ghosts, evil spirits, and animals. The action takes place on earth as well as in heaven and hell. Gazi Kalu is depicted as victorious because he has been blessed by Allah, Khwaja Khizir and the goddess Ganga. The poem mentions the popular belief that offerings to Gazi Pir could ensure safety from tigers.

    Gazi Kalu-Champavati greatly influenced later poets such as Syed Halu Mir, Abdur Rahim, and Abdul Gafur who composed similar poems. Sheikh Khoda Baksh's poem, Champavati Kainyar Palagan or Gazi Saheber Git, was popular in many parts of the country during the 19th and 20th centuries when it revived Muslim sentiments of pride in the past glory of Islam Sufism has also influenced the literary and cultural life of the land. Innumerable songs and stories, for example, have been written on the miraculous stories of the Sufi saints. Murshidi and marfati songs, gazir gan, the poem of gazi kalu-champavati, the songs of Madar Pir, Sona Pir etc are based on the lives of these Sufis or developed from the Sufi ideals of their teaching.

    The tradition of Gazir pat can be traced back to the 7th century, if not earlier. The panels on Yama's messengers and his mother appear to be linked to the ancient Yama-pat (performance with scroll painting of Yama). It is also possible that the scroll paintings of Bangladesh are linked to the traditional pictorial art of continental India of the pre-Buddhist and pre-Ajanta epochs, and of Tibet, Nepal, China and Japan of later times. [Shahnaz Husne Jahan] The central panel depicts Gazi Pir seated on a tiger, flanked by Manik Pir and Kalu. The central panel of the second row shows Pir Gazi's son, Fakir, playing a nakara. The central panel of the third row shows Gazi's sister, Laksmi, with her carrier owl. The right panel of the second row shows the goddess Ganga riding a crocodile. In the bottom row, Yamadut and Kaladut, the messengers of Yama, are shown in the left and right panels. The central panel shows Yama's mother punishing the transgressor by cooking his head in a pot. As Gazi Pir is believed to have the power to control animals, a Gazir pat also depicts a number of tigers.

    Red and blue are the two pigments mainly used. There are slight variations of colour, with crimson and pink from red, and grey and sky-blue from blue. Every figure is flat and two-dimensional. In order to bring in variety, various abstract designs (such as diagonal, vertical and horizontal lines, and small circles) are often used. The figures lack grace and softness. Some of the forms (such as trees, the Gazi's mace, the tasbih, (the Muslim rosary), birds, deer, hookahs etc, are extremely stylised. The figures of Gazi, Kalu, Manik Pir, Yama's messengers, etc appear rigid and lifeless. There is no attempt at realism.

    One of the most striking exhibits in the current British Museum exhibition Myths of Bengal is the beautiful Gazi scroll - not just for its rich colours and vivid figures, but because it illustrates the enriching coexistence of two of the world's great faiths. Images of Hindus making puja offerings are juxtaposed with those of Muslims making similar offerings at the tombs of their saints (pirs). It shows how a remarkable, syncretic culture emerged in which the tombs of many pirs became places of pilgrimage for both Hindus and Muslims.

    Looking at the Gazi scroll, one cannot but conclude that the past offers more enlightened models of living with difference than we are achieving. We need to be reminded - and inspired - by the history of places such as Bengal so that we can guard against the easy simplification that human beings can be parcelled into discrete civilisational categories based on faith. Some of the world's richest cultural traditions are the legacy of the interaction of several faiths (Madeleine Bunting Wednesday November 29, 2006,The Guardian) .

    Gazi Song

    The fishes find the deep sea,
    The birds the branches of the tree.
    The Mother knows her love for her son
    By the sharp pain in her heart alone
    Many and diverse the colour of the cows,
    But white the colour that all milk shows.
    Through all the world, a Mother's name
    A Mother's song is found the same.

    From The Field Of the Embroidered Quilt by Jasim Uddin- 1939)

    In Bengal of late there has been a movement for the revival of folk-music, in the sense of its introduction even among classes which were hitherto not quite interested in it. So are not only folk-tunes being incorporated into the musical structure, but efforts are being made to learn and sing genuine folk-songs. Imitative efforts have accompanied the movement, but have not, owing to the absence of natural mental and physical environment, been much of a success. Earnest attempts for collection and preservation of folk-songs have also grown up under private and public auspices.

    Handed on through generations, folk-songs have been rich in power and variety. Their authorship is generally unknown; only in some of them have the composers mentioned their names in the last lines, but nothing more than the bare name is ascertainable. Nor have the songs been much recorded. They have lived from day to day, have spontaneously circulated through the villages. Most of them have their popularity confined to districts; but some have found response beyond the borders as well.

    In Bengal, as in many other lands, folk-songs have been at once the expression and the refuge of the soul of the people. Unaffected by the rise and fall of kingdoms, they remain an abiding treasure, and all efforts to preserve them in form and tune are to be welcomed.

  • Bhagavad-gita introduction
  • The Life of Krishna
  • Arjuna The Archer : Patta Chitra Katha
  • Afjol
  • Shoki lo momtaz
  • Amar Galar Har - Music and Lyric Jasim Uddin - Channel 1

    10. Jasim Polli Mela opens in Faridpur- 2009

    January 27, 2009: To commemorate the 106th birth anniversary of 'Polli-kobi' Jasimuddin a fortnight-long fair -- 'Jasim Polli Mela' -- began yesterday at Govindapur village in Faridpur amidst much enthusiasm. A lively cultural programme was part of the inaugural session. Around two hundred stalls have been set up at the premises of the poet's home by the river Kumar.

    Handicrafts, everyday items used by the rural folk, tools and other items used in agricultural, literary works of Jasimuddin and more are on display at the fair. Other attractions include puppet show; circus; live performance of 'jari', 'shari', 'bhawaiya' and 'murshidi' songs; dance and recitation.

    On January 24, Toufiq-e-Elahi Chowdhury 'Birbikram', adviser to the Prime Minister, inaugurated the fair. Advocate Shamsul Haque, newly elected Sadar Upazila chairman; Aktaruzzaman Mohammad Mostafa Kamal, deputy commissioner of Faridpur; Police Superintend Kusum Dewan; Afsana Yasmin, chief executive of Faridpur Zila Parishad and the poet's son Dr. Jamal Anwar attended the inauguration of the fair on Saturday. Enthusiastic visitors from different parts of the country are converging at the fair; some enthused by the pastoral beauty epitomised by Jasimuddin in his poetry:

    "Tumi jabe bhai, jabe more shathey amder chhoto gaye?"
    Or "Amar bari jaiyo bhramar boshte dibo pirey.”
  • Last Modified: May 12, 2016

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