Bishnuprasad Rabha

Bishnuprasad Rabha(a forgotten assamese) (1909-1969) ( _as. বিষ্ণুপ্ৰচাদ ৰাভা) is a multifaceted artist and revolutionary singer of Assam. A doyen of the Arts, he is popularly known as "Kola Guru" ( _as. কলা গুৰু).Born in Dhaka, a part of Undivided India, now in Bangladesh, he played an active role in as a freedom fighter in the struggle for Indian independence.

Cultural influence

The level of influence exerted by the "Kola Guru" can be observed through the fact that most cultural music competitions of Assam feature a segment called "Rabha Sangeet" related to his compositions, lyrics and verse. [cite web
url = http://www.assamtimes.org/index.php?news=63
title = Honour for Bishnu Rabha
accessdate = 2007-06-22
date = 2007
work = Assam Times Website
publisher = Assam Times]

He advocated the need to be aware of other people's cultures, views and religion etc in the interest of national integrity. [cite web
url = http://www.janasadharan.com/yatra2nd/19.htm
title = Assamese - a search for a national identity
accessdate = 2007-06-22
date = 2007
work = Dainik Janasadharan Website
publisher = Dainik Janasadharan (Newspaper)]

Theatre

There have been many live performances at the Ban Theatre in Tezpur which is famously connected to Bishnu Rabha. [cite web
url= http://www.bantheatre.info/bg.html
title = Ban Theatre - Background
accessdate = 2007-06-22
date = 2007
work = Ban Theatre Website
publisher = Ban Theatre]

Films

He was recognised as a film director, music composer ("Siraj") and actor ("Era Bator Sur"). [cite web
url = http://www.imdb.com/name/nm1245599/
title = Bishnu Rabha
accessdate = 2007-06-22
date = 2007
work = IMDB Website
publisher = IMDB] [cite web
url = http://rupaliparda.com/english/History.htm
title = History of Assamese Cinema
accessdate = 2007-06-22
date = 2007
work = Rupaliparda Website
publisher = A Profile by Sanjib Kr Borkakoti] Bishnu Prasad Rabha : forgotten assamese

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Bishnu Prasad Rabha lived in a tumultous time, when the country was in the height of freedom movement. He was an active participant in that movement. He went so deep in this struggle for freedom that he dedicated his entire life to it. He did not mean freedom to be one-dimensional, that is freedom from the British rule only. By freedom, he meant liberation from poverty and all types of hegemony as well. He renounced a big estate of 1500 bigha land, bequeathed to him his father Gopal Rabha in favour of the tenant farmers and went on wandering from one place to another like a nomad. He was a true organiser of the people. His service in mobilising the rural masses during the freedom movement was really matchless. Only two other stalwarts, Sankar Barua and Jyoti Prasad Agarwalla came a bit near him in this regard.

Bishnu Prasad had no dichotomy in his life. Whatever he professed, he did in his own life. Even his colleagues were not so since in their avowed principle. Some of them were actually casteist who interfered unashamedly in Bishnu Prasad's personal life. But Bishnu Prasad took every thing in his stride. The magnanimity showed by him to those so-called revolutionaries was divine. The common people realised it and showered love on him plentifully. There was even in instance when the public selected a bride for him and got him married to her.

Bishnu Prasad was not confined to narrow party politics. He could have acquired immense political clout in the corridors of power after the country became independent, had be only wished it. But he preferred to continue with the struggle, which for him had only started in 1947 in the real sense of the term. He did not hesitate to declare that the independence acquired by the country was a sham. The common masses remained in the dark abyss of poverty like they had been before. His strong stand made him enemy of the power that be. It was only at the instance of the Tezpur citizens towards the fag end of his life that he decided to fight from within the system. By then his health had deteriorated a lot. Otherwise the politics of Assam would perhaps have taken a different turn.

Bishnu Prasad was a versatile genius. His dancing prowess mesmerised the audience. He was bestowed the title Kalaguru by Sarvepalli Radhakrishnan at Varanashi following a recital of the Tandava dance there. He was the embodiment of Nataraja, the heritage of Assam. Incidentally, the concept of Nataraja was a contribution of Assam to Indian civilisation. Till date there has not been a better exponent than Bishnu Prasad of the Tandava dance. Even Uday Shankar was fascinated by his recital and wanted to learn the same from him. The concept of Tandava was as if ingrained in Bishnu Prasad. He wanted to demolish everything bad in the society, which was the message of Tandava dance.

Bishnu Prasad was simply marvellous as an actor. The Baan theatre of Tezpur saw his genius aplenty. He ably assisted Jyoti Prasad in the making of the first ever Assamese film Joymoti. There were innumerable plays where Bishnu Prasad lent his acting prowess. He could havevery well established himself as a commercial artiste outside Assam since he had access to the art world in Kolkata and Mumbai. But he did not go for those green pastures as he taken up this medium only as a tool for spreading this message. His acting talent came very handy in moving incognito around the State for freedom movement. Some times he sneaked out of a place cordoned by police force by posing as a police official.

Bishnu Prasad could sing very nicely. He had learnt bargeet composed by saint Srimanta Sankaradeva when he was staying at Barpeta with his sister. Even thing pertaining to the saint attracted Bishnu Prasad greatly. He was not an atheist like fellow communists. He was a believer in God, Whom he saw in the multitude. Of course that was the very ideal of the saint too, who had declared the enlightened devotees to be his God and who did not worship any icon. It is significant that the highly demanded picture of the saint in the market is that drawn by Bishnu Prasad. The latter could imagine a picture because he could visualise the saint. A painter has to first visualise his/her object before he/she can give shape to it. Unfortunately the print of Bishnu Prasad's art which has been mass-produced lacks graciousness of the saint in full measure and is also devoid of the requisite atheleticism in the saint's agile body. The better pieces of his art remain yet unavailable for the common people. These have been presented by his family. There are four pictures of Srimanta Sankaradeva in water colour which are simply marvellous. These pieces were pioneering attemps at drawing imaginary pictures of the saint. It was not that Bishnu Prasad just roamed around the State and indulged in performing art occasionally. He was a serious academician too. In fact he was the first anthropologist of Assam. His book Bano-Kobang is a nice work of anthropological study based on field work. The observations as well as materials compiled therein remain invaluable source of information about the ethnic groups in this State. This aspect of Bishnu Prasad has largely been ignored and the public get to know him only as a performing artiste. This is because most of his writings were published only posthumously and they were ignored by the mainstream critics of Assam. There is a tendency in Assam to treat only poems, short stories and novels as literary work. It is true that those creative works left by Bishnu Prasad were a bit weak in form. But he was successful as a lyricist. And he was richer in his anthropological works. But those were never counted by our literary critics. The Asom Sahitya Sabha totally ignored Bishnu Prasad when he was alive just as they ignored Jyoti Prasad. History however never fails to do justice to a genius. Now the two 'Prasad's are remembered as the symbol of Assamese culture. What an irony!

Bishnu Prasad was very emphatic about the rise of the downtrodden in his writings as well as in his speeches. In this respect he was like Ambikagiri Roychowdury, who also exhorted the people to get up from slumber. But Bishnu Prasad was even more radical than Ambikagiri and never went near the Congress party. Like Sri Aurobindo he could see the inherrent contradictions in Congress, a party led by the upper class people. It was because of this weakness in Congress leadership that the party always stopped short of any radical design and was almost like the British in policy matters. Ambikagiri and Jyoti Prasad failed to see that. However that does not rob the duo of their due place in Assam history. We are only making a comparative study here with Bishnu Prasad. No such study has been done till date.

Bishnu Prasad was very conscious of his tribal lineage. He participated in several symposiums and conventions about tribal heritage. Each lecture delivered by him was a masterpiece. He highlighted the fact that the Assamese language and culture was predominantly tribal. This ran counter to the prevailing conception that Assamese language and culture was basically an Aryan one. Even Dr Banikanta Kakoti was mistaken in this regard. He opined that the Assamese language and culture was basically Aryan. This view was shared by Dr Birinchi Kr Barua, Dr Prafulla Dutta Goswami etc. But Dr Kakoti and his supporters could never explain why the caste system or for that matter many other evil traits of the Aryans were so subdued here. Bishnu Prasad's view that Assamese culture was predominantly tribal seems to be the correct one. Srimanta Sankaradeva culled material from different tribal dances and music to evolve a new classical form of dance and music. Unfortunately some orthodox people refuse to accept that.

It is because of the basic difference of approach to cultural study that Bishnu Prasad was ignored by the so-called intelligentsia of Assam till the other day. The revival of interest in him since the last three decades is highly motivated. First, he was resurrected as a symbol of sub-nationalism during the Assam movement and then of 'liberation' struggle in the early nineties. But Bishnu Prasad was very much an Indian. He encouraged the citizens of Tezpur to face the Chinese aggressors in 1962, whereupon he was taken into custody by the then government! Bishnu Prasad rather talked of suppressed humanity, wherever the latter were. Thus he had some similarity with Dr Ernesto Che Guaverra. The lives of the two revolutionaries also were similar to a great extent.

Recognition and Awards

Kalaguru Bishnu Rabha Bota

There is an award given in his honour for achievements in the cultural/music world of Assam by the state government. [cite web
url=http://www.assamtribune.com/scripts/details.asp?id=jun2107/at03
title= Rich tributes paid to Bishnu Rabha
accessdate = 2007-06-22
date = 2007
work = Assam Tribune Website
publisher = The Assam Tribune (newspaper)] [cite web
url=http://amtron.in/assamgov/grawards/vrawards.html
title= Bishnu Rabha Award Recipients
accessdate = 2007-06-22
date = 2007
work = Amtron Website
publisher = Amtron]

mriti Udyan

The Bishnu Rabha Smriti Udyan has been set up as a memorial park in his honour. It is located on the banks of the Brahmaputra near Tezpur in a plot adjacent to the Bhairabi temple.

ee also

*Assamese cinema
*Culture of Assam

References