Tribute to Shah Abdul Karim – The Baul Emperor

Shah Abdul Karim, the legendary Boul emperor of Bangladesh, died on September 12, 2009 in the morning at a private clinic in Sylhet town. Baul Karim was one of the most famous legends of Bangladeshi folk music. He specialized in Bengali Baul music. Born and brought up in the the village of Ujan Dhol, in Derai Upazila [Police Station] of Sunamganj, he lived there until his death. He was awarded the Ekushey Padok in the year 2001 for his outstanding musical achievements. He also received Drouhee Kotha-shahitayk Abdur Rouf Choudhury Award in 2000.

Shah Abdul Karim was born in 1916 in Ujan Dhol village, Derai Thana, in Sunamganj District in Sylhet Division, one of the remotest villages of Bangladesh. Growing up with poverty and hardship, he started expressing his thoughts and emotions musically from very early age. Ektara, a traditional single string instrument has been his constant companion. His songs had spell-binding effects on the people in and around his village, not to mention his melodic, soothing and pleasingly rustic voice. He was so indulged in music that unlike other typical Bangladeshis he failed to engage in some 'jobs' and continued entertaining people with his music [by and large, music is yet to be recognized as a full grown profession in Bangladesh]. However, poverty forced him to get into agricultural labour. But nothing could stop him from making good music. As he was growing up, he received training on spiritual and baul music from Kamal Uddin, Shadhak Rashid Uddin, Shah Ibrahim Mastan Baksh. His versatility ranged from Baul song, Spiritual song to Bhatiali. He went on learning all the exclusive modules of Baul song afterwards along with Shariatti, Marfatti, Nabuot, Belaya, the various devout form of music. He was motivated by philosophy of renowned Lalan Shah, Panju Shah and Duddu Shah. Baul Shah Abdul Karim has written and composed over 1500 songs. These songs are organized in six books, like: Aftab Sangeet, Gano Sangeet, Kalnir Dheu, Dholmela, Bhatir Chithi and Kalnir Kooley. Bangla Academy has translated ten of his songs into English language. Baul Karim wrote and sang songs for all the important political and cultural movements of Bangladesh, like The Kagmari congregation, the 1954 election, the 1969 mass uprising, the 1970 election, and the revolution against the military junta in 1990. When the anti-British movement gained momentum, Karim was a boy of 15. He traveled with an Ektara from village to village in order to call the people to the cause of freeing the soil from the clutches of the British Raj. He composed some popular songs, which brought him closer to the common men at that time.

Even in recent times a good number of songs have enjoyed popularity in the country, although there are many who have not even heard of the man. Some of his popular numbers are, “Agey Ki Sundar din Kataitam”, “Gramer Naojoan”, “Hindu Mussalman”, “Bandhey Maya Lagaichhey”, “Piriti Shikhaichhey”, “Tomra Kunjo Sajao Go”, “Aj Amar Prannonath Ashibey”, “Gari Choley Na Choley Na”, and many more numbers.

The traditional folk songs, the integral part of folk culture and heritage of Sunamganj, are on the verge of extinction.

Though Sunamganj had been turned into district from sub-division 21 years ago, there still it lacks adequate recreational facilities, particularly in rural areas. So, the arrangement of folk songs is the sole means of entertainment.

There are innumerable folk songs sung by rural people and singers in different areas of the district. The true picture of the living condition of the people of the district comes to light in the soft strains of Bhatiali, Jari, Sari, Murshidi, Bhawaia and many other such forms of songs.

When a farmer is harvesting paddy he sings, when a boatman is plying boat in the middle of the turbulent river he breaks out into a song. The bullock-cart driver sings as he moves along the rough muddy roads. Even among the town dwellers they often hum themselves without even being aware of it. Besides, folk culture of the region which used to be expressed through everyday works like tilling, paddy husking, making pithas [handmade rice cakes] sewing, stitching quilts and so on, is also on the wane.

Folklore, folk songs and folk tales are the integral part of the folk culture and tradition of the rural people. As the towering poets like Hasan Raja, Radha Ramon, Durbin Shah, Akrum Shah and Bangla Academy award winner baul Shah Abdul Karim of Sunamganj have left behind excellent folk songs on their metaphysical thoughts rich both in textual colour and musical depth, the district was enrich with folk songs.

The lucid melody of the folk song fascinates the audience. Local poets and lyricists usually compose them reflecting the natural beauties of the rural areas as well as the joy and sorrows, woes and bliss and passion and peace of the village people. Nature here is adorned with seasons and every season adds a new enchantment to her changing beauty. Folk song in Sunamganj are so varied and beautiful like nature that it is difficult for one to remain indifferent to its appeal.

Shah Abdul Karim, the legend of Baul songs and a versatile genius had all through lived a very simple life often faced with harsh reality. However, with the recent trend of popular 'modern' versions of his [and other] Baul songs in Bangladesh, he is now widely recognized and honoured by people, even by the younger generations who had never been 'fans of tradition folk songs'. Though much belated, his contributions to Bengali Music has now been officially recognized by the State and its people.

Before saying something on the legendary figure of Bangladesh, let me say that, Shah Abdul Karim hails from the same district and even village that I hail. He received Drouhee Kotha-shahitayk Abdur Rouf Choudhury Award in 2000, and late Abdur Rouf Choudhury is my great grand father.

Being a lyrist and composer, I surely have a kind of very strong but unseen attachment with Baul Abdul Karim. Today, after I heard the news of his sad demise, at private clinic, without proper treatment, I felt extremely angry on the present government, especially on the Finance Minister, who also hails from Sylhet district. Why the Bangladesh government did not initiate for proper treatment of Baul Karim in Dhaka? Why the government did not send him abroad for better treatment? Why such a legendary man was forced to live in a remote village? Did the government never feel any necessity of at least allocating a house for him in the Capital city?

Some singers and cultural activists, a number of times organized cultural programs in Dhaka as well other parts of the country for raising fund to help the family of Baul Abdul Karim for his treatment. Such programs were properly publicized. But, my point here is, why the government was turning completely deaf in paying any attention to this important issue? What those idiots in cultural affairs ministry were doing? Why did they not take any measure in contributing in helping this precious son of the soil, in at least getting proper treatment?

I know, after the demise of Baul Abdul Karim, some leaders of the ruling party as well as opposition will attend his funeral and leave mock tears. But, they must remember one word, very precisely, by ignoring this extremely precious son of the soil, Bangladeshi government has once again shown to all of us that, they always fail to show respect to anyone, during their life time. This is a great shame for the Bangladeshi politicians and those in power.