Rabindra Sangeet in the port city

Shila Momen and Sreyoshee Roy, two Tagore exponents in Chittagong belonging to different generations, believe that one needs much practice, devotion and greater understanding of Tagore's philosophy to master Rabindra Sangeet.

But both expressed their disappointment over the lack of practice of Rabindra Sangeet in the proper way.

Shila Momen, who has been working as a cultural activist in the port city since the Pakistan era, founded 'Raktakarabi' -- a training institute -- in 1999 with a view to ensure the proper practice of Rabindra Sangeet and other genres of Bengali music including their theoretical aspects.

“During the Pakistan era, the practice of Rabindra Sangeet to us was a fight against the hostile attitude of the then Pakistani government towards everything Bengali,” Shila said.

“We observed Rabindra Jayanti (Tagore birth anniversary) with much enthusiasm, commitment and passion at that time though the programmes lacked the grandeur that is prevalent now," she went on.

After the Liberation War the foremost task of the Tagore enthusiasts was to maintain the proper practice of Rabindra Sangeet in the country while several progressive cultural personalities like Wahidul Haque, Sanjida Khatun and others from Dhaka visited Chittagong in this regard.

Activists like Mihir Nandi, Nirmal Mitra, Shila Momen and many others worked tirelessly in teaching music and organising the cultural programmes while different institutions including Sangeet Parishad, Agrani Sangha and Alauddin Lalitkala Academy played a significant role.

Now with the passage of time Rabindra Sangeet is also affected by the ongoing trend of commercialisation, Shila observed.

She believes that Tagore songs are now attracting a large number of people and practice is on the upswing with increasing number of training schools.

But the problem is that very few care for the authenticity and strict maintenance of the original notations.

Referring to the changing mode of social environment, Shila said young singers are often after fast fame.

Shila, a member of the Muhtijuddho Sangrami Shilpi Sangstha during the Liberation War, also said that certain prominent singers of the country have become more commercial.

She said it is the duty of the senior artistes and teachers to practice what they preach and only then they can help the students to understand the depth of Tagore's philosophy.

Promising local artiste Sreyoshi Roy, who is the joint secretary of Rabindra Sangeet Shilpi Sangstha Chittagong, maintains the same view.

Sreyoshi who completed her honours from Rabindra Bharati University, said, "Lots of training institutions are operating but there is a lack of quality teachers. She also said young singers are not interested enough in extensive training and preparation."

The Tagore enthusiast expressed her frustration over poorly planned programmes on Rabindra Sangeet and substandard production of Tagore plays in Chittagong.

“The organisations remain confined in just observing birth and death anniversaries of Tagore and stay inactive for the most part all year round,” she said.

Both artistes however have not lost their hopes and are determined to work towards ensuring proper practice of Rabindra Sangeet in Chittagong.