Homage to Abdul Latif – An indomitable spirit

Years ago, prominent cultural figures hailing from Barisal, were invited over for the centennial celebration of Brojo Mohon College, popularly known as BM College. The ship was to start at 6 pm and we hurried for the Sadarghat terminal.

Everyone seemed in a jovial mood. Abdul Latif, Papya Sarwar, Jewel Aich, Khairul Alam Shobuj, Nawazish Ali Khan, KS Firoze, Latifa Helen and myself could barely conceal our excitement as we boarded the ship. Chandradwip, an organisation of Barisal, had arranged this memorable programme. That trip now seems all the more significant as this was the last time I had the opportunity to interact with Abdul Latif, whom we affectionately called “Latif bhai.”

I first met him in the 1960s. The then-president of Pakistan, Ayub Khan was to pay a visit to the Dhaka radio station at Shahbagh. Massive preparations were underway to put up an impressive show. As the youngest group of artistes at the station, we were also preparing for a live performance and were training under Latif bhai. The ever-buoyant Latif bhai was to teach us rhymes and spiritual songs.

On weekends we used to rehearse at the big studio no. 6 at Shahbagh. Eminent composers Abdul Ahad, Samar Das and Latif bhai were training us for the final show.

The spirited Latif bhai was a wizard when it came to children’s songs. Latif bhai in his white pyjama-panjabi, a cigarette at the corner of his mouth, riding his Vespa to work, was a familiar sight. “Tora chashney kichhu karo kachhey, Khodar madat chhara,” “Imaan ekota srinkhola ei niye shudhu potho chola,” the rhythmic songs “Ek shiyaley randhey barey,” “Laal jhuti kakatua,” “Jhor elo elo jhar,” “Ailo deya nishaley” and many more were composed in the simplest form to match the spirit of the young singers.

His on stage performances never failed to captivate us. He sang as he spoke — with a booming voice, and in high spirits. He was equally emotional, pious and sensitive. His tunes were varied but always had a touch of the folk element. He was also a master in ‘puthi paath,’ the traditional art of reciting folklore — hardly heard nowadays.

He had the amazing ability to write lyrics and compose tunes at a moment’s notice. The story runs that one of his timeless songs was written in a similar fashion. While on his way to office he had a sudden inspiration to write a song on the Language Movement. He hurriedly came back home. On a piece of paper, he scribbled the words “Ora amaar mukher kotha kaira nitey chaye.” This was in the year 1952. The song was soon on everyone’s lips, the message of the song forthright and strong.

Rathindranath Roy would often sing this song at Ekushey programmes. The emotionally-packed song would evoke passion amongst the audience every time. Abdul Alim’s most popular numbers “Duarey aishachhey palki,” “Por-er jaiga por-er jomin,” and many more incomparable songs were composed by Abdul Latif. On the whole he composed over 1500 songs.

He was also a mentor to eminent artistes such as Ferdousi Rahman, Nina Hamid, Indramohon Rajbangshi, Rawshan Ara Masud, Mina Barua and many more.

Latif bhai declined the “Tamgha” title given by the Pakistan government. He was honoured with Ekushey Padak in 1979 and the Swadhinata Padak in 2002.

Latif bhai met with an accident after which his health started to deteriorate. Voice choking with emotion, he would often tearfully glance at the harmonium, unable to sing his favourite songs.

On the whole, however, Latif bhai was a content man. He was bestowed with numerous awards for his outstanding contribution to music, but through it all, he managed to secure the most prized award of all — a place in the hearts of his countrymen.

Sadya Afreen Mallick
Source: The Daily Star, February 21, 2009

Tags: abdul latif, Papia Sarwar