Remembering A Creator of Melody: | Krishna Dulal Barua

The sequel to the rich musical tradition of Assam in the modern period, pioneered primarily by Rupkonwar Jyoti Prasad Agarwalla, rested, besides the judicious use of the raga-base, on exquisite fusions of Assamese folk and Indian classical elements with subtle doses of Western strains. Quite a number of notable musical personalities strove selflessly to add a newer and lasting dimension to Assamese music in the twentieth century. The distinguished singer and composer, Nizamuddin Ahmed Hazarika was one of these artistes of substance.

Nizamuddin Ahmed Hazarika was born on December 4, 1920 at Jorhat. His father, Dr. Khusrub Ali Hazarika was a prominent medical practitioner of the district. Since his early years he was drawn to music and gradually he began to mature under the able guidance of Kirtinath Bordoloi, Muktinath Bordoloi, Khabiruddin Ahmed and Nawab Ataur Rahman. During his student life at Jorhat Govt High School, and later at Cotton College (1941-44), he participated in almost every cultural function of the institutions presenting ghazals, bhajans and Assamese modern songs.

Nizamuddin was a gifted composer besides being a skilled organist and harmonium player. He rendered into tune quite a number of songs for approved vocalists of All India Radio, Guwahati, the lyricists of which included Syed Abdul Malik, Darpanath Sharma, Bani Bordoloi (Pathak), Satyaprabha Das, Nabin Bordoloi, Mohammad Piyar, Alimunissa Piyar and Nurul Haque. Most of the songs received a warm response from the masses. Songs like Jaga janasadharan jaga…., Moi ruddha karaar bandini…., Sunsuwodi sonar Asom ai…., Ghorote lagise jui…., O’bandi ketiya mukoli hobi….etc performed by the artistes of the Indian Peoples’ Theatrical Association (IPTA) were immensely popular during that time. Almost all the numbers from Syed Abdul Malik’s collection of lyrics-Mor Geet Tomar Kantha were set to tune by the distinguished composer.

While he was at Jorhat, he was actively associated with the Friends’ Theatre. In the plays staged by the organisation, he directed the music and even made his presence felt occasionally as a capable actor.

Nizamuddin was an active member of the IPTA. For some time he was the Secretary of the Upper Assam branch of the organisation and had close relations with eminent personalities of Indian cinema like Balraj Sahni, KA Abbas, Salil Choudhury and others. In an exclusive interview to Lokenath Goswami (the noted singer) in September, 1984 he stated, “I was never a communist. Perhaps I was the first non-communist secretary of the IPTA in Assam.” In January, 1948 while returning from the Fifth IPTA conference at Ahmedabad, four of his Assamese modern songs penned by Syed Abdul Malik and Naba Baruah were recorded at AIR, Calcutta.

Nizamuddin also received tremendous inspiration from Jyoti Prasad Agarwalla who even urged him to try his hand on some of his lyrics. Jyoti Prasad accepted with delight Nizamuddin’s rendering into tune of one of his memorable songs, Luitar akashat tarar tarawali….which was later recorded in an EP disc by Hemanga Biswas.

In the late forties Nizamuddin sang Assamese modern songs for AIR, Guwahati. According to the rules of radio broadcast where prior to the recording, the lyrics of the songs were submitted at the office, once one particular song of his which contained the words Krishak mazdoor (peasant workers or tillers) was rejected by the authorities and romantic lyrics were recommended in its place for his performance. This action by the radio authorities offended him to such an extent that he instantly expressed his disapproval and unwillingness to sing romantic songs. He totally stopped his radio performances thereafter.

Nizamuddin Ahmed Hazarika entered into the pedagogic profession soon after his graduation but this did not in any way dampen his musical pursuits. During his service life he simultaneously made significant contributions in the cultural field. In 1948-49, he along with Lakheswar Sharma, Imran Hussain, Muktinath Bordoloi and Indira Miri set up the Sadiya Sangeet Vidyalaya at Sadiya where he also served as an honorary music teacher. He was the founder member for the Dibrugarh Sangeet Vidyalaya, (presently run by the Government) where too he rendered his invaluable services as a music teacher. His sincerity and devotion, along with his compositions of songs and musical features, helped to boost the development of the institutions significantly.

Nizamuddin was invited a number of times by Balraj Sahni to try his hand at Mumbai’s cine music, but for numerous reasons he had to decline such offers. Once while performing ghazals at a function at Delhi, the audience applauded him as the ‘Saigal of Assam’.

In 1957 the eminent musician tied the nuptial knot with Salina (Ahmed Hazarika) of Jorhat. Their only son, Rekibuddin Ahmed Hazarika, a college lecturer by profession, is an up-and-coming lyricist.

Nizamuddin successfully directed the music of the Assamese feature film, Ranga Police in 1957-58. The strains of the Assamese lullaby was introduced here for the first time in Assamese film music (Sun ghumoti jai….) Nurul Haque was the lyricist of all the songs and the vocalists were Ranu Bhattacharya, Mohibuddin Ahmed and Nizamuddin himself. Ranga Police incidentally happens to hold the record of being the first Assamese feature film to bag the President’s award.

In 1978 Hemanga Biswas along with a co-artiste recorded four Assamese songs in an EP disc by Inreco. On side A were the famous numbers, Luitor akashat tarar tarawali….written by Jyoti Prasad Agarwalla and Herou sapun bibhur, sur salabar samay ahil tor….by Syed Abdul Malik. Both the songs were set to tune by Nizamuddin.

In the All Assam Music Conference at Dibrugarh in 1959 he was one of the distinguished judges. For his substantial contributions to Assamese culture, the Nagaon Sahitya Sabha felicitated him in 1992.

Nizamuddin Ahmed Hazarika retired from Government service as the DI of Schools, Morigaon in February, 1981. He devoted the years after his retirement in social works at Nagaon and encouraged the younger generation constantly with ideals of sacrifice, perseverance and dignity. After an illustrious life spanning three quarters of a century, the noble soul breathed his last on April 5, 1994.

The Jorhat Id Mehfil, 1994 honoured him by organising the cultural night in his name. The Nagaon Book Fair, 1996 held a cultural night in his memory. The socio-cultural organisation of Nagaon, ‘Oasis’ runs a trophy in the competition of songs of Mohammad Rafi and Jayanta Hazarika, held every year, in his name.

Syed Abdul Malik described him as a man of cool temperament, publicity-shy, jovial and energetic, with face and eyes ever-glowing with life and enthusiasm. Infact, his was a personality of silent dignity and strength, of sense and independence. He possessed the attributes required for his time and was able to deliver a laudable musical synthesis by absorbing and responding to the resources and principles of his age.

Krishna Dulal Barua has been consistently translating poems, short- stories and literary articles from Assamese to English. His ‘Selected poems of Nilmani Phookan’ published by the Sahitya Akademi appeared in 2007.He received the Katha Award for translation in 2005.