Khairul Anam Shakil:
A Preserving Voice of Nazrul Geeti
 
by Robab Rosan

Courtesy: New Age [BD: Sept. 24, 2004]

Khairul Anam Shakil, who has acquired immense fame as a Nazrul Sangeet singer, is working to uphold the rich heritage of Bangla songs. Shakil had left Dhaka for London in 1975 and graduated from Leeds University in industrial engineering in 1984. Shakil's passion for music and his commitment to promoting it is truly commendable.

He grew up in a family inclined to music and thus it is no surprise that he has been interested in it since he was a child. His mother, Nilufar Khayer, was a student of Rabindra Sangeet in Bulbul Academy of Fine Arts (BAFA), and was also involved with Chhayanaut. Shakil's uncle, Mahmudur Rahman Benoo, inspired and guided him into learning music, especially Nazrul. He used to take Shakil and his siblings to all the Chhayanaut programmes when they were children.

"My interest in music was so great that I did not lose my focus. Talent alone is not enough; hard work lies behind the success of every musician. The familial environment is also very helpful, it helped me a lot. We should have respect for anyone who can succeed without having such a background. Their enthusiasm in is really remarkable."

Being self employed, Shakil is able to devote much time to music. He looks after the family business and manages enough time to practice.

"I also teach classical music, but because completing the courses is a long process, the students lose patience and interest too soon. They should realise that if they want to sing properly they must have a classical background."

Interestingly, Shakil's inspiration to be involved in music started when he took part in a competition of Rabindra Sangeet in the then Pakistan Television in 1968 and secured the first position; he was ten years old. "Winning the competition was a great boost and I got very interested in music. My uncle pressured me to practise music sincerely and with dedication," says Shakil.

During the liberation war in 1971, Shakil's family became displaced and continuing with music was almost impossible. After coming back to Dhaka in 1972, he got admitted at Chhayanaut in the beginners' class. He had chosen to learn Nazrul Sangeet and was allowed to be admitted in first year in music.

"I preferred Nazrul Sangeet because my foundation was that of classical vocal music. I loved singing kheyal very much; as well as any raga-based songs, right from the beginning. The fact that my uncle sang Nazrul was another reason for me to sing Nazrul Sangeet," he added.

The environment for learning music at that time was, of course, different. There were no computers, satellite channels and these sorts of entertaining gadgets. So parents used to encourage their children to either take up some sort of sport or work with cultural organisations. It was a matter of pride for cultured families to see their children succeed and do well in the extra curricular activities, like music, acting, and so on. The scene has changed.

"Nowadays, the new generation usually prefer and enjoy the modern rhythm-based songs rather than Rabindra Sangeet or Nazrul. This change, I think, has developed with the passage of time. We can call this juger hawa-trend of time."

"During our time, there was tremendous respect among the students for their teachers. But now, I do not see such reverence. In the past, students were very patient and learned their lessons attentively. There was a devotion and sense of competition among them. This situation has changed in many cases in recent years. There is the so called rat-race prevailing among the students. They are all chasing after quick and easy fame, rather than actually learning music with devotion and commitment."

According to him, the teachers of this time are rather casual with their students, unlike the strict ustads he had learned from. "I am friendly with my students too. I learnt this when I went to London to study and enjoyed their way of teaching". But he thinks that students should not take the friendly attitude of the teachers lightly and exploit it or take advantage of it; that will be their loss. Since I have decided to teach the students, I have to teach them seriously. I have to impart the knowledge that I have achieved to them. And hope that the students will take the lessons sincerely."

There are some students who are practising and doing well in music. They are promising, but they should also continue to be much more patient. Like many other performing arts, music is difficult and it needs hard work, practice and perseverance. But the students lose their patience too quickly."
Professional singers face many odds, especially when it comes to the recording industry. The cassette companies do not give much importance to traditional Bangla songs or release them. In many cases, there are singers who are obligated to sing traditional songs without any remuneration from the organisers. Television and radio should play a pivotal role in this sector. The cassette companies should also come forward to develop an audience. The number of listeners of classical, Rabindra and Nazrul songs is decreasing day by day; this is ominous news for Bangla songs.

"The listeners these days do not study the lyrics, the tune or the emotion in the music; they just enjoy the beat and the rhythm." By releasing music videos the cassette companies can popularise the traditional music. Good quality recordings can attract viewers to taste good music. As the trend to enjoy light music is prevalent among the young listeners, the cassette companies are only investing on that genre. But Shakil is grateful to the Bengal Foundation for their initiatives in releasing cassettes and CDs of traditional Bangla songs.

Shakil has released a CD of 13 old Bangla songs from films titled Ogo Bandhu Kachhe Theko with his wife Kalpana Anam. "I think a singer should pay respect to all sorts of music, especially ones that are well composed and well written."

Earlier, he had released cassettes titled, Harano Diner Gan, and two other on Nazrul Sangeet titled, Meghe Meghe Andha and Islamic songs. He has also released cassettes and CDs of Nazrul Sangeet titled, Gabhir Nishithe Ghum and Pashaner Bhangale Ghum.

"We are getting much information on Nazrul's songs; this is helpful for the singers. We are acquiring various types of Nazrul songs from different sources, so we have a variety in singing Nazrul songs. The swaralipi (notations), which are available in ongoing research works, are also helpful for the Nazrul Sangeet singers. But unfortunately, for lack of proper practice in classical music, there are many singers who are not able to sing Nazrul."

Shakil says, "The government should take more initiatives to popularise Nazrul songs. After the establishment of the Nazrul Institute, we are getting original notations and compositions of Nazrul Sangeet but the effort should be more sincere and strong".

There is also little market for Nazrul songs in West Bengal. The singers of Nazrul in that region have, in fact, very little opportunity or space to practise this genre of Bangla songs.

"We are hopeful that the singers of Nazrul songs in Bangladesh are singing it more accurately than the singers of West Bengal. We have been able to set a trend of shuddha charcha here in Bangladesh. If both the singers and the cassette companies can realise this trend then Dhaka will be the centre of authentic culture for Nazrul songs."

Organisations arrange the programme only to commemorate the birth and death of the national poet. They should arrange regular programmes to be able to reach out to the public. There are some major cultural organisations, including Chhayanaut, who are working well in creating good singers.

There are many qualified singers and music composers in the country who have left the field because of the unhealthy atmosphere in the industry. Shakil wants to uphold their songs again through singing their songs with original compositions. He has plans to release CDs recording the old Bangla songs.
"There should be social acceptance of the singers and proper remuneration. The present scene should be changed. Though the environment for practising music has rather changed in the country, the situation needs to be improved more; otherwise, it will not survive as a tradition."

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