Multifaceted ethos in Tagore's words

Lisa is one of the most promising Tagore singers of her generation. Growing in a music-oriented family, Lisa was introduced to the world of Tagore songs by her father Mafizuddin Ahmed, professor of Philosophy in Rajshahi University (RU).

"We used to have informal musical soiree (classical music and Tagore songs) at home. I took music lessons from Ustad Rabiul Hossain, Amaresh Roy Chowdhury and Golam Murshed (professor of Bangla, RU)," says Lisa.

In 1981, Lisa participated in the 'Kishore (youngsters) group' of nationwide contest by Rabindra Sangeet Sammilan Parishad (RSSP) and came first. She stood first in the same contest (in the same group) next year. The following year it was decided that if anyone came first in the same group twice consecutively, he/she would have to participate in the 'adult group', regardless of age. At the age of 13, Lisa competed in the adult section and came first again.

Tagore exponent Wahidul Haque noticed Lisa's potential and flair and began giving her music lessons. Occasionally she trained under Sanjida Khatun.

Lisa has been a teacher of Tagore songs at Chhayanat, one of the leading music schools in the country, for the last six years.

Humming the familiar tune Aji jhoro jhoro mukhoro badoro din-e Lisa says, "An interesting facet of Tagore songs is that, quite a few of the tunes were modified by Tagore himself and often multiple versions of the same song have existed. In the case of Aji jhoro jhoro... the lesser-known version is rendered in Dhrupad style.

The change might seem minor when talking about it, but as Lisa renders the song, a sea change becomes apparent; as if the expression or mood has gone through a metamorphosis.

"Changing taal or loy (rhythm) brings about a significant change in a certain song. For instance Amar neeshith-o raat-er badoldhara can be rendered in chaturmatrik (four beats) or trimatrik (three beats) style. Bishwabeena robey can be taal-pherta (tempo changing).

"The words remain unchanged but an artiste who has in depth knowledge of Tagore's philosophy and his work, can change the disposition of a song. Pooja porber gaan (devotional songs) can also be one's personal ballad to the beloved. The line between 'love for the Creator' and 'love for humanity' is often blurred in Tagore's work. These subtle details can be perceived if one can envision the image a song evokes."

What about the debate regarding the "correct" way of rendering Tagore songs? Lisa responds, "There is a swarolipi (notation) for Tagore songs. The basic tunes cannot be tinkered with but the style and expression can differ. People who argue that a certain style should be religiously followed are just manifesting what they have learnt from their teachers. Some of those teachers may have learnt the songs from Tagore, but as I mentioned earlier, Tagore himself often made minor changes in his songs. Its only human."

Lisa has a positive outlook on the state of Tagore songs in our country. "Ask anyone to name five Tagore songs and I can assure you, he/she can come up with titles. Rabindranath's songs delineate emotions and expressions that are still very contemporary.

One can only perceive these gems of Bengali literature and music by studying more and delving deep into the soul."