Panchoshor: A touch of the mystic

Artistes of Panchoshor performing at the programme

Unlike other previous occasions, Panchoshor's endeavour was marked by an informative discussion on the topic. Veteran journalist KG Mustafa presented the keynote paper elaborating on the history of mysticism that has strongly influenced Bangla literature.

The root of the word 'mysticism' lies in the word 'myein', which means 'to close eyes'. The Bangla word of mysticism is 'moromibad' which means transcendentalism. 'Transcendentalism is an esoteric knowledge (Truth) that means the perceptible knowledge and realisation of the creator. The ultimate question of this metaphysical discipline is 'who am I? and why am I?' said Mustafa in his paper. Asking 'who am I?' the devotees of all religions of the world have gone deep into the matter only to find that only the Creator is All, while 'I' is the pleasant manifestation of 'Him'.

The earliest specimen of Bangla literature of olden days is Charyapada, a thousand-year- old 'Buddha gaan and doha' (Buddhist songs and couplets). Esoteric practice and mystic philosophy of Buddhism have found expression in them with the help of metaphors and allegories. These songs/lyrics have been composed on the basis of the theological spiritualism of the protagonists. The philosophy of Buddhism has been enriched in them. Upon first hearing the language of the Charyapada, one understands its meaning in one superficial way. But when reflected upon, another esoteric meaning reveals itself.

Bangla musical genres like Aul, Baul, Marfati and Murshidi are heavily influenced by the mystic philosophy found in the Charyapadas. Besides, Vaishnava Padabalis--songs and verses praising Lord Vishnu--have also influenced Bangla music.

Michael Madhusudan Dutta, Rabindranath Tagore, Kazi Nazrul Islam and Jasimuddin were immensely influenced by mysticism, Sufism and Baul doctrines.

The second part of the programme was an enchanting musical recital by the artistes of Panchoshor. The rendition of songs and poems was chronological with the history of the different philosophical theories. Having started with the earliest specimens of Bangla literature, Charyapada, the recital carried through the creations of Jasimuddin. Shimul Mustafa recited a small piece from Charyapada--Ali and Kali a But Rundela. Although the language was complex, the rendition

was appealing.

Shumon Chowdhury rendered spiritual songs of Chandidas, Ramprasad, Rabindranath Tagore and Kazi Nazrul Islam. His mature presentation enthralled the audience. Nurshida Pathan presented different poems of Bidyapati, Tagore and Jibanananda Das. Musical accompaniments, dominated by flute in the background, were melodious and appropriate with the recitation.

The entire programme was well organised. The chronology of songs was carefully maintained with a blend of different songs from different genres representing the same universal massage: a call for humanity and the expression of human feelings.

Talented singer Shumon Majumdar offered some popular and widely rendered songs like Khanchar bhitor achin pakhi and Je chhilo amar shaponocharini. Promising singers like Mamun Zahid Khan, Farhana Akhtar, Nasmia Shahin and Jannat-e-Ferdousy also delighted the audience.