From the earliest stirrings of my consciousness, I have been ensnared by the intoxicating pull of rhythm. As a child, I found myself entranced by its pulse, a beat that seemed to speak the language of the universe itself. At the age of eighteen, I embarked on a journey to transform this primal connection into a lifelong pursuit, one that would ultimately give birth to my fusion album Night in Bengal in 2002—a confluence of heart and sound, a testament to my soul’s deepest longings.
The song Dere Dere Chal is composed in the Blues scale, with both its lyrics and composition crafted in harmony with its soulful essence. Additionally, I performed the song Guru in the profound Raga Darbari scale. Beyond this album, my journey of composing music and writing songs continues to evolve.
World music, in its purest form, traces its origins to the simplest of sounds—the solitary clap, the primal tone, the hum of a string—each a vessel of celestial harmonies. Throughout history, composers have sought to harness the ethereal, channelling their deepest emotions—love, passion, reverence, joy, and longing—into melodies that transcend the boundaries of culture and language.
Through years of discipline and devotion, musicians, composers, and musicologists have peeled back the layers of the musical cosmos, uncovered the hidden mysteries of the octave and unlocked the full spectrum of sound, from the Natural scale to the Chromatic scale, encompassing every style and every tradition of world music.
Just as the climate shapes the contours of the earth, sculpting its landscapes and influencing the lives of its people, so too has it given rise to the diversity of musical expressions, languages, fashions, cuisines, and cultures. Yet, in the end, it is lyricism—spoken and unspoken—that shapes melodies, guiding musicians to play not only with their fingers but with their hearts, their spirits, and the rhythms that pulse through their very tongues.
Music, then, is not merely sound. It is the breath of the universe, a timeless force that binds us all, transcending all divides and uniting us in the purest language of the soul.
I was born in Akbar-Kutir, more commonly known as Master Bari, in West Tilak (also spelt Tilok), a village adjacent to Shaharpara, the ancestral homeland of my noble lineage, which traces its origins to the early 14th century. This sacred land is home to the shrines of my revered ancestors, including Hazrat Shah Kamal (RA), the spiritual predecessor to the twelve Sufi saints of the Sylhet Division, whose legacy continues to transcend time, reaching into the profound depths of Sufism—the mystical path to the Divine. The tomb of another esteemed disciple of Hazrat Shah Kamal (RA), Hazrat Pir Kallu Shah (RA), rests in Azimabad, Patna, Bihar Province, India. However, his family, including his son and household, remained in Pirergaon and Chandbharang, located in the regions of Bishwanath and Jagannathpur.
My lineage stretches back over four millennia to the Quraysh tribe of Arabia, the descendants of Prophet Ibrahim Khalilullah (sallallahu alayhi wa sallam)—a patriarch revered in Islamic tradition as the ancestor of Prophet Muhammad (sallallahu alayhi wa sallam) through his firstborn son, Hazrat Ismail (peace be upon him), and his mother, Hazrat Bibi Hajira (Radi Allahu Anha), also known as Hagar. The sacred blessing of the Zamzam Well, granted by Allah (SWT) to Hagar and Ishmael in the barren desert, remains a powerful symbol of divine mercy in Islam, commemorated by millions of pilgrims during Hajj, who retrace Hagar’s desperate search for water between the hills of Safa and Marwah.
Like many of the Awliyas (Sufi saints), my forebears descended from the Quraysh, a powerful merchant tribe that once held dominion over Makkah and the Kaaba, shaping the spiritual and cultural landscape of Arabia.
The noble legacy of my family extends far beyond Sylhet, intricately woven into the fabric of the Muslim era and intertwined with the governance of Islamic rulers, particularly Shamsuddin Firoz Shah, alongside Hazrat Shah Jalal (RA), the revered spiritual leader. Hazrat Shah Jalal (RA), a saint and warrior, led the conquest of Sylhet in 1303 CE, establishing Islamic rule in the region that endures to this day. Although historical records differ, it is believed that Hazrat Shah Jalal (RA) passed away in 1346, 1347, or perhaps the late 1340s CE, at the extraordinary age of approximately 150 years. Some historians suggest that he was born in the 1330s and passed away in the 1340s, living for around 120 years. Hazrat Jalaluddin Surkh-Posh Bukhari, a distinguished Sufi saint and missionary, was the maternal grandfather of Hazrat Shah Jalal (RA), having lived from around 1190 – 1295 CE.
Sylhet, once known as Silhat (where *Sil* means stone and *Hat* means marketplace), was originally an independent kingdom called Srihatta Rajya in the 12th century, during India’s mid-medieval period. This region was part of Khanda Kamarupa (meaning "portion of Kamarupa," now known as Sylhet), which was divided into three parts among three brothers—Ladduka, Gudaaka, and Jayantaka, the sons of Gunhaka. These divisions evolved into the kingdoms of Lauda (Laur), Gauda (Gaur), and Jayantia (Jaintia), which collectively formed the region of Khanda Kamarupa—eventually becoming what we now recognize as Sylhet.
During this time, Sylhet was ruled by the tribal chieftain Gaur Govind (or Gor Govinda/Gor Govindo), under the Gaur Kingdom (or Gor Kingdom). The region was predominantly inhabited by Mongoloid-origin tribes, and Gaur Govind himself was a member of the “Tepra” tribe from the state of Tripura in present-day Southeast India.
Sikandar Khan Ghazi, the army commander and maternal nephew of Sultan Shamsuddin Firoz Shah, led two military campaigns against Raja Gaur Govind (also spelt Gor Govinda, Gour Gobinda, or Gur Govind) in an effort to bring him under the Sultan’s rule. However, both attempts ended in failure, with Gaur Govind successfully repelling the Muslim forces.
Following these defeats, Hazrat Syed Nasiruddin (RA) led a third military campaign against Gaur Govind, but he too was defeated, as the Hindu chieftain’s forces remained strong in their defence.
At this critical juncture, Hazrat Shah Jalal Mujarrad (RA) of Yemen (Arabia) had arrived in the region, having been instructed by his spiritual mentor in Mecca to spread Islam in Bengal. While travelling through Delhi, he met Hazrat Nizamuddin Auliya (RA), who gifted him two pairs of rare dark-coloured pigeons, later known as Jalali pigeons (Jalali kobutor)—a species still found in Sylhet and Cachar.
When Hazrat Shah Jalal (RA) and his 360 companions encountered Sikandar Khan Ghazi’s defeated army, he declared:
“I have come to destroy the tyrant and establish Islam. Your victory in Sylhet will be with me, if you wish to fight once more.”
Thus, in the fourth and final assault, Hazrat Shah Jalal (RA) and his disciples, alongside the forces of Shamsuddin Firoz Shah, led by Sikandar Khan Ghazi and Syed Nasiruddin Sipah Salar, launched a decisive attack on Gaur Govind’s fortress. This time, Gaur Govind’s forces were defeated, and Sylhet fell to the combined army of spiritual and military forces.
Upon entering Sylhet, Hazrat Shah Jalal (RA) and his followers settled in the region. His first act was to hoist the green flag of Islam, adorned with the Crescent and Star, atop the Hindu commander-in-chief’s fortress on the hill. With this victory, Sylhet came under both spiritual and material Islamic governance.
Sheikh Jalal Mujarrad (RA) then distributed land among his followers, granting them allowances and permitting them to marry. Many of today’s respected Muslim families of Sylhet trace their ancestry to Hazrat Shah Jalal’s (RA) companions, who came from Central Asia and Arab.
The holy shrine of Hazrat Shah Jalal (RA) remains one of the most revered pilgrimage sites in Bangladesh, attracting hundreds of visitors daily, both Muslim and non-Muslim.
The Historical and Geographic Context of Sylhet
Sylhet, historically known as Silhat (Sil, meaning stone, and Hat, meaning marketplace), was an independent kingdom called Srihatta Rajya in the 12th century. It was part of Khanda Kamarupa, which was divided among three brothers—Ladduka, Gudaaka, and Jayantaka—forming the Laur, Gauda, and Jaintia kingdoms. In the late medieval period, Sylhet was ruled by chieftain Gaur Govind under the Gaur Kingdom and was predominantly inhabited by Mongoloid-origin tribes. Gaur Govind himself belonged to the “Tepra” tribe of Tripura, India.
Following the Partition of 1947, Sylhet became part of East Pakistan after a referendum,
while three districts—Cachar, Karimganj, and Hailakandi—remained with Assam, India. In 1971, after the Bangladesh Liberation War, Sylhet became an integral part of Bangladesh.
A Musical Tribute to Ancestral History
Inspired by the rich history of my ancestral lineage, I composed a song based on the journey of my forefathers—stories passed down from generation to generation throughout Greater Sylhet.
One of the greatest historical family legacies is tied to the village of Shaharpara, where Hazrat Shah Kamal Quhafa (RA)—also known as Qattani—arrived by boat with his Arabian wife, possibly accompanied by his eldest son and twelve Sufi saints. Hazrat Shah Kamal (RA) was blessed with three sons and a daughter, continuing a lineage that remains deeply intertwined with the spiritual and cultural heritage of the region.
Song Title: “The Legacy of Shaharpara”
Verse 1:
On the winds of time, we sail the sea,
To lands where history meets legacy.
From Akbar-Kutir, our roots take flight,
To the sacred hills where stars ignite.
The call of the past, in whispers we hear,
The story of Shah Kamal is so pure, so clear.
With his Arabian bride, they sailed the tide,
Twelve Sufi saints are by his side.
The journey was long, through waves and strife,
A legacy born of a spiritual life.
Chorus:
From Shaharpara, the legacy flows,
Through generations, the river grows.
In the heart of Sylhet, the past lives on,
In the echoes of the sacred dawn.
Shah Kamal’s blessing, Shah Jalal’s might,
A journey of faith through day and night.
Verse 2:
Sikandar Shah, with a warrior’s heart,
Tried three times to play his part.
But the mountains stood, and the rivers ran deep,
Until Hazrat Jalal woke from his sleep.
With the pigeons in hand, from Nizamud-Din’s grace,
He led the charge to a holy place.
The battle was fierce, the stakes were high,
But Sylhet was claimed under the sky.
The green flag rose, the Crescent and Star,
A victory claimed both near and far.
Hazrat Jalal stood, his mission complete,
A spiritual conqueror, none could defeat.
Chorus:
From Shaharpara, the legacy flows,
Through generations, the river grows.
In the heart of Sylhet, the past lives on,
In the echoes of the sacred dawn.
Shah Kamal’s blessing, Shah Jalal’s might,
A journey of faith through day and night.
Bridge:
From the hills of Gaur to Sylhet’s plains,
The warriors marched; they broke the chains.
The green flag fluttered, the moon shone bright,
A symbol of Islam in the dead of night.
Through trials and triumphs, through joy and pain,
The bloodline carries the sacred name.
Verse 3:
The sons and daughters of Sylhet’s soil,
In the memory of ancestors, we toil.
From the lands of Bengal to Assam’s gate,
We honour the past, the family’s fate.
The sacred grave, the pilgrims’ prayer,
A legacy cherished beyond compare.
Chorus:
From Shaharpara, the legacy flows,
Through generations, the river grows.
In the heart of Sylhet, the past lives on,
In the echoes of the sacred dawn.
Shah Kamal’s blessing, Shah Jalal’s might,
A journey of faith through day and night.
Outro:
So let the story echo through the ages,
Written in the stars, bound by the pages.
The tale of Shaharpara, eternal and true,
A journey of love, faith, and virtue.
Hazrat Shah Jalal’s (RA) Journey to Sylhet and the Expansion of His Disciples
As Hazrat Shah Jalal Mujarrad (RA) journeyed toward Sylhet, he was accompanied by 313 devoted disciples, resembling the number of the companions who fought in the Battle of Badr alongside Prophet Muhammad (SAW).
On the way, Shah Jalal (RA) and his companions encountered the defeated Muslim forces, led by Sikandar Khan Ghazi and Syed Nasiruddin (RA), who had previously failed in their attempts to conquer Sylhet from Raja Gaur Govind. Upon learning of their plight, Shah Jalal (RA) assured them that victory was near, declaring that he had been divinely guided to this land to spread Islam.
In the gentle embrace of time, where the sacred lands of Sylhet weave a story of divine intervention and celestial guidance, there lies a place—Shaharpara—where the legacy of Hazrat Shah Kamal (RA) flourishes like the undying pulse of history. According to the instructions of Sultan Hazrat Shahjalal (RA), this hallowed journey culminated at the very periphery of West Tilak—the mark of kings, where earth and heaven met along the riverbank of Ratna Nodi. Here, in the serene landscape of Jagannathpur, Sunamganj, Bangladesh, the ground kissed by the feet of saints became a sanctified space known as Shafahar (Shah's embankment or bank), or Shah Ar Parr (Shah’s hill or isle, riverbank, residence, or even his footsteps). This stretch of elevated land, once a modest island, is now known as Shaharpara—the Royal Neighbourhood—where the essence of spirituality and divine history converge.
The sacred beginnings of Shaharpara trace back to Hazrat Shah Kamal (RA), whose blessed footsteps are believed to have given the land its name. Just as Hazrat Shah Jalal (RA) matched the soil of Sylhet with the earth handed to him by his maternal uncle Hazrat Syed Ahmed Kabir (RA), Hazrat Shah Kamal (RA) was given a handful of the earth by his maternal uncle Hazrat Shah Jalal (RA). Guided by divine direction, Hazrat Shah Kamal (RA) set forth toward the land that would become Shaharpara.
As he journeyed, the soil he encountered took on a hue unlike any other—a unique and sacred colour, believed to have been divinely matched with the earth Hazrat Shah Jalal (RA) had given to Hazrat Shah Kamal (RA). This divine coordination between the soils marked the final destination of Hazrat Shah Kamal (RA) and transformed Shaharpara into a spiritual haven, a blessed land where divine presence permeates every corner. This sacred connection between Hazrat Shah Kamal (RA) and Hazrat Shah Jalal (RA) continues to inspire and guide the region, making Shaharpara a symbol of divine unity and spiritual fulfilment for generations to come.
At this divine site, Hazrat Shah Kamal (RA) established a mosque, an Eidgah, a madrasa, and a Saathduaree (Seven Doors) for meditation, alongside a Khanqah. The Khanqah became a sanctuary for all people, irrespective of their faith, where the practices of dhikr (remembrance of God), meditation, and divine celebration flourished. It became a living testament to the spirit of unity and spiritual devotion, where those from diverse backgrounds were welcomed and nourished by the light of Islam.
Shaharpara became the very heart of the campaign of Tawhid (the oneness of God), with people from the surrounding regions coming to Hazrat Shah Kamal (RA) to embrace Islam. From this blessed land, the message of Islam spread far and wide, touching the hearts of the majority Hindu population and followers of other faiths. The teachings and example of Hazrat Shah Kamal (RA) ignited a flame of unity and belief, guiding many towards the path of Islam and nurturing a harmonious coexistence.
The sacredness of Shaharpara is underscored by the presence of two extraordinary relics. At Hazrat Shah Kamal’s (RA) Dargah (shrine), a prayer stone stands, bearing the imprint of his hands and feet, now encased in cement. This stone is a tangible link to the saint’s divine presence, a reminder of the blessings and guidance he bestowed upon the land. Alongside this relic lies the mysterious “Mother Stone,” also known as the Black ‘Milk’ Stone. This stone holds great reverence among the people, who bring milk from their cattle to pour onto it as an offering. The stones of Shaharpara are unique, their colours and shapes differing from ordinary stones, and over time, children would place stones beside them, though none ever matched or grew like the sacred stones.
There are seven stones in total, each one varying in size, and when a stone surpasses the seventh in size, it is said to levitate, floating in the air at night, giving birth to a new stone. In the 1980s, the Mother Stone mysteriously disappeared, only to be rediscovered years later in the Mukam Mosque Pond after the water was drained for maintenance. The stone was returned to its rightful place, and the area was sealed beneath the ground with a cemented platform and surrounded by a jali (mesh) wall. But soon after its return, a hole was found in the eastern wall, the exact size of the Mother Stone. It was no longer giving birth to new stones, remaining as a singular entity, yet its presence continued to be a powerful symbol of divine mystery.
A legend whispers through the ages of a man who dared to push the sacred Mother Stone into the pond—only to meet a grim fate. It is said that, as divine retribution, he was stricken with a mysterious illness, vomiting blood before his untimely death. This enigmatic event remains an enduring part of the lore surrounding the revered Dargah of Hazrat Shah Kamal (RA), a place that once served as his home and was shared with his noble Arab wife to the north.
To the west of his residence lies a reservoir, meticulously excavated by the order of Hazrat Shah Kamal (RA) himself to provide the community with pure drinking water. This reservoir—the first of its kind in the region—became more than just a source of sustenance; it transformed into a sanctified site, deeply interwoven with the spiritual and communal life of the people.
During momentous occasions—weddings, funeral rites, and sacred feasts—villagers would inscribe their requests for food items on banana leaves, listing plates, rice bowls, curry dishes, spoons, and drinking cups before gently releasing them into the water. Then, at the appointed hour, to the astonishment of all, shimmering golden plates and gleaming cups would rise from the depths, as if summoned by unseen hands, fulfilling the prayers of the faithful.
However, one fateful day, a maid attempted to deceive the divine provision by hiding a golden plate in cow dung. When the remaining supplies were returned to the reservoir, an unusual occurrence took place—the floating plates and cups refused to submerge. Suspicion arose, and upon being confronted, the maid confessed her actions. The moment her deception was revealed, all the golden plates and cups sank into the water, never to resurface again.
This incident left behind only the sacred memory of a divine blessing, said to be reserved for the descendants of Hazrat Shah Kamal (RA). The story endures as a testament to the sanctity of the place and the miracles that once flourished there. Though the golden plates vanished, faith remains—guiding generations who continue to revere this hallowed site, where the echoes of divine grace still linger.
The stories of Shaharpara have been passed down orally through generations, an ever-present thread connecting the present to the past. This extraordinary legacy weaves together the contributions of Hazrat Shah Kamal (RA) to Islam, his family, and the spiritual fabric of the region. The shrines, the historical sites, and the miracles of Shaharpara are cherished as national heritage, reflecting the deep interconnection of Persian, Arab, Indian, Pakistani, and Bangladeshi cultural and religious history that spans back to the 14th century CE. Today, Shaharpara stands as a timeless beacon of faith, devotion, and divine mystery, a sacred place where the past lives on and continues to inspire generations.
Song Title: “The Stones of Shaharpara”
Verse 1:
By the banks of Ratna Nodi, where the river winds,
Lies the sacred land, where the soul aligns.
Shaharpara, where the Shah’s footsteps stay,
A royal neighbourhood, where the spirit prays.
From the hills to the mosque, the green flag flies,
A legacy of faith beneath the open skies.
With stones of power, each one a sign,
From the prayer stone to the black milk stone divine.
They grow, they shift, they levitate and soar,
A mystery of nature, opening the door.
The whispers of history, the echoes of the past,
In the soil of Shaharpara, the ties will last.
Chorus:
The stones of Shaharpara speak of the past,
A legacy of faith built to last.
Through the river's flow and the sacred ground,
Where the spirit rises, where it's found.
From the mother stone to the floating plates,
The miracles remain, as time waits.
Verse 2:
Hazrat Shah Kamal, with his legacy bright,
Walked the earth, a beacon of light.
His presence, a blessing, where the faithful pray,
In Shaharpara’s soil, where the spirits stay.
The seven stones, a testament so pure,
Their mystery is a bond that will endure.
In the sacred tank, the plates would float,
A feast for the soul, a prayer to devote.
But when one plate hid beneath the dung,
The balance was lost, the song unsung.
The plates returned, but never again,
A symbol of grace, where faith did remain.
Chorus:
The stones of Shaharpara speak of the past,
A legacy of faith built to last.
Through the river's flow and the sacred ground,
Where the spirit rises, where it's found.
From the mother stone to the floating plates,
The miracles remain, as time waits.
Bridge:
The eastern wall, with a hole so deep,
Where the mother stone once lay asleep.
A sign of the past, now forever gone,
But in the hearts of the faithful, the light lives on.
The maid’s confession, the plates afloat,
A story of reverence, of faith’s true note.
Verse 3:
From the days of Shah Kamal to the present time,
The history of Shaharpara, in rhythm and rhyme.
The dargah stands, a place so grand,
Where the spirit of the saints commands.
Generations pass, but the legacy stays,
In the hearts of the faithful, forever ablaze.
Chorus:
The stones of Shaharpara speak of the past,
A legacy of faith built to last.
Through the river's flow and the sacred ground,
Where the spirit rises, where it's found.
From the mother stone to the floating plates,
The miracles remain, as time waits.
Outro:
Shaharpara’s story, forever told,
A legacy of faith, rich and bold.
Where the stones grow, and the river bends,
+The+Holy+Quran.bmp "Imaginary Portrait of Hazrat Abu Bakr (Radi Allahu Anhu): In this imagined portrait, Hazrat Abu Bakr (Radi Allahu Anhu) is depicted as a dignified and serene figure, reflecting his wisdom and deep faith. His face is characterized by a peaceful expression, embodying both humility and strength. He wears traditional Arabian attire, a simple robe with a plain head covering, symbolizing his modesty. His eyes, though gentle, carry a sense of quiet resolve and compassion. His posture is upright, exuding a sense of leadership, yet it remains humble, reflecting his role as the first caliph of Islam. A subtle halo of light may surround him, emphasizing his revered status in Islamic history. The portrait exudes a sense of piety and dedication to Allah (SWT), capturing the essence of his spiritual and moral strength.")
Chronology of Lineage:
• 570 CE – Prophet Muhammad (SAW)
• 545 CE – ‘Abd Allah
• 497 CE – ‘Abd al-Muttalib
• 464 CE – Hashim
• 439 CE – ‘Abd Manaf
• 406 CE – Qusai
• 373 CE – Kilab
• 340 CE – Murrah
• 307 CE – Ka'b
• 274 CE – Lu'ayy
• 241 CE – Ghalib
• 208 CE – Fihr
• 175 CE – Malik
• 142 CE – an-Nadr
• 109 CE – Kinanah
• 76 CE – Khuzaimah
• 43 CE – Mudrikah
• 10 CE – Elias
• 23 BCE – Mudar
• 56 BCE – Nizar
• 89 BCE – Ma'ad
• 122 BCE – Adnan
%2BHouse-Masjid.jpg)
(Early Illustration)
a. Prophet’s Mihrab
b. Aisha bint Abu Bakr’s (RA) Residence
c. Hafsa bint Umar’s (RA) Residence
d. Zainab bint Jahsh’s (RA) Residence (not pictured)
e. Zainab bint Kuzayma’s (RA) Residence (not pictured)
f. Fatima’s (RA) Residence (not pictured)
g. Baab Uthman bin Affan (RA)
h. Ahl al-Suffah Residence
i. Juwayriya’s (RA) Residence (not pictured)
j. Rumla’s (RA) Residence (not pictured)
k. Safiyya’s (RA) Residence (not pictured)
l. Baab al-Rahma
m. Abu Bakr’s (RA) Residence
n. Sa’d bin Abi Waqqas’ (RA) Residence (not pictured)
o. Al-Abbas bin Abdul Muttalib’s (RA) Residence (Prophet’s (SAWS) uncle)
p. Ja’far bin Abi Sadiq’s Residence
Source: The Madinah Research & Study Centre, Al-Madinah Al-Munawwarah
.jpg)
The Blessed Grave of the Holy Prophet Muhammad (Peace Be Upon Him) is inside the room of the house of Aisha (RA).
The Second Tomb in Islam
The grave of Sayyiduna Abu Bakr (RA) is also inside the room of Aisha (RA), where he was buried next to the Prophet (PBUH).
The Third Tomb in Islam
The grave of Sayyiduna Umar ibn Al-Khattab (RA) is inside the same room, buried next to the Prophet (PBUH) and Abu Bakr (RA).
Thus, it was the practice of the Sahaba to bury the Prophet (PBUH) and the Caliphs not in open spaces but within a room, or in other words, a constructed shrine.
Today, the descendants of Hazrat Abu Bakr (RA) can be found in all corners of the world, carrying forward his noble legacy.
Among them, Hazrat Khwaja Shah Burhanuddin Quhafa (RA) was not only a revered companion of the patron saint of Sylhet but also a formidable commander. He was the brother-in-law of the great Sufi saint of Bangladesh, Hazrat Shahjalal (RA), and shared a common lineage with him through their ancestors. In honour of Hazrat Shahjalal (RA), Sylhet was once known as Jalalabad, a lasting testament to the saint’s profound influence on the region and its people.
Hazrat Khwaja Shah Burhanuddin Ketan (RA) led a significant expedition to Chittagong, accompanied by Hazrat Shah Badruddin (RA), under the esteemed guidance and leadership of the revered spiritual monarch, Hazrat Makhdoom Shaikh al-Mashaikh Shah Jalal Ad-Din al-Mujarrad bin Mahmoud al-Yemeni (RA). A luminary of his time, he was a distinguished scholar, master of the Sunnah, mystic, saintly figure, dervish, and the venerated patron saint of Sylhet.
The title “Makhdoom” means “teacher of the Sunnah,” while “Shaykh” in Islam and Sufism refers to a religious figure or scholar. Linguistically, “Shaykh” also denotes an elder or wise old man in Arabic.
The term “Mashaikh” (مشائخ), the plural of “Shaikh” (Sheikh), refers to Sufis, mystics, holy persons, or dervishes—spiritual guides and scholars revered for their deep knowledge of Islamic teachings and wisdom in the path of Tasawwuf (Islamic mysticism).
“Ad-Din” (الدين) translates to “The Religion” or “The Faith” in Arabic and is often used to signify Islam as a comprehensive way of life.
For example:
• “Shah Jalal Ad-Din” (شاه جلال الدين) means “Shah Jalal of the Religion,” reflecting his profound religious and spiritual devotion.
• “Ad-Din al-Islam” (الدين الإسلام) means “The Religion of Islam.”
This term is frequently found in the names of scholars, saints, and religious figures, symbolising their dedication to faith.
“Al-Mujarrad” (المجرد) is an Arabic term meaning “alone,” “unmarried,” “single,” or “celibate.”
Islamic and Sufi traditions describe individuals who embrace a life of celibacy and spiritual devotion, renouncing worldly attachments. For instance, Shah Jalal Ad-Din Al-Mujarrad (RA) earned this title as he remained unmarried, dedicating his life entirely to spiritual pursuits and the spread of Islam.
He was born as the only son of his father and remained a lifelong bachelor, wholly dedicated to his spiritual pursuits. Hazrat Shah Jalal ad-Din al-Mujarrad (RA) was the son of Hazrat Mahmoud bin Mohammed Ibrahim Qureshi (RA), a respected Muslim cleric and contemporary of the renowned Persian poet and Sufi saint, Hazrat Molana Jalal ad-Din Muhammad Rumi (RA). His mother, Fatima Saida Hasina, was a descendant of the noble Hazrat Imam Hussain (Radi Allahu Anhu). Additionally, Hazrat Shah Jalal’s (RA) maternal uncle, Hazrat Saiyid Ahmed Kabir Suhrawardi (RA), lovingly nurtured him on the milk of cattle, further enriching his spiritual upbringing.
When Hazrat Shah Jalal (RA) reached maturity, his uncle initiated him into the Suhrawardi order of mystical knowledge. Deeply impressed by his spiritual progress, his uncle said, “Jalal, you have attained the utmost; your heart and mine have become one. But I do not wish to keep you confined here.”
Picking up a clump of soil from the ground beneath his spiritual retreat, he placed it in the hands of his disciple and instructed, “Go to India. When you find soil of the same colour, fragrance, and texture as this, you shall know it is the land where you must settle—after vanquishing the infidels.”
As the revered saint Hazrat Shah Jalal (RA) journeyed eastward with the divine mission of liberating Sylhet from its oppressors, he and his mujahideen warriors reached the banks of the mighty Brahmaputra River. Finding no boat to cross, he calmly spread out his prayer mat upon the water. By the grace of the Almighty, he and his companions miraculously traversed the river upon it, a testament to his unwavering faith and spiritual power.
Upon reaching Sylhet, Hazrat Shah Jalal (RA) called out to its reigning monarch, “O Gur Govind, how is your health?”
Hearing Shaykh’s soothing voice, Gur Govind was so overwhelmed that he leapt out of his sandals and bowed his head to the ground in submission. He then declared, “I have surrendered this kingdom to Sikander. What further service may I render you?”
Hazrat Shah Jalal (RA) replied, “If you can, procure sufficient stone and brick to build a magnificent mosque.”
Gur Govind, under the supervision of his chief minister, gathered the necessary materials from the mountains and sent them to the Shaykh, who then constructed a grand mosque with 120 domes.
While residing in Sylhet, Hazrat Shah Jalal (RA) noticed that the soil of one particular hill—where his shrine now stands—bore the same colour, fragrance, and texture as the soil given to him by his Shaykh. Recognising it as the destined land, he chose to settle there. He then entrusted the administration of Sylhet’s town and its Parganas (revenue districts) to his 360 companions, while his closest associates, including the Prince of Yemen, Hazrat Sheikh Ali (RA), remained near his shrine.
Upon learning of Hazrat Shah Jalal’s (RA) immense spiritual stature, the King of Yemen sought to test him. He invited the Shaykh to his court and offered him a glass of sherbet laced with poison. Through divine intuition, Hazrat Shah Jalal (RA) immediately discerned the deception.
Lifting the glass, he proclaimed, “Good or bad, all things are ordained for each soul. One receives what one envisions.”
Without hesitation, he drank the poisoned sherbet. To the astonishment of all, he remained unharmed—while the deceitful king perished instead.
Moved by this miracle, the crown prince renounced the throne, choosing the path of a dervish over that of a king. Discarding his crown, he embraced the life of a humble seeker of God.
Near the shrine of Hazrat Shah Jalal (RA), his most devoted disciples also found their eternal resting places:
• Hazrat Sheikh Ali (RA), the Prince of Yemen,
• Hazrat Haji Yusuf (RA),
• Hazrat Haji Daria (RA),
• Hazrat Haji Khalil (RA),
• And other eminent spiritual figures who remained steadfast in his service.
Hazrat Shah Kamal Quhafah (RA) was blessed with three distinguished sons: Hazrat Shah Jalal-ud-Din Qureshi (RA), known as Boro Miyah Sahib (the eldest), who remained childless; Hazrat Shah Jamal-ud-Din Qureshi (RA), affectionately referred to as Maizla Miyah Sahib (the second); and Hazrat Shah Muazzam-ud-Din Qureshi (RA), also called Choto Miyah Sahib (the youngest).
Following the Muslim conquest of Sylhet in 1303, aided by the valiant support of 360 Sufi saints under the spiritual guidance of the esteemed patron saint, Hazrat Makhdoom Shah Jalal-ad-Deen Shaikh-ul-Mashaik al-Mujarrad bin Mahmoud Al-Yemeni (RA), Sylhet emerged as a prominent centre for the spread of Islam. Hazrat Shah Jalal (RA), the first Muslim leader of Sylhet, hailed from the noble Quraysh tribe of the Arabs. Under his command, Sikandar Khan Ghazi governed Greater Sylhet, serving as a trusted official under Sultan Shamsuddin Firuz Shah, the ruler of the kingdom of Lakhnauti. Hazrat Shahjalal (RA) played a pivotal role in establishing the royal legacy of Islam in Sylhet, embedding the city with the profound spiritual and cultural heritage of Arab royal descent, a legacy that continues to define the region to this day.
3. Hazrat Shah Jamal-Ud-Din Qureshi (RA) – commonly known as Choto Miyah Sahib (the youngest).
Almost every historian has acknowledged Hazrat Shah Kamal’s (RA) second son, Shah Muazzamuddin Qureshi—except for one source, Nachab Nama. The term Nachab Nama is of Arabic origin, signifying lineage. According to this genealogical record, the family lineage of Hazrat Shah Kamal (RA) designates Shah Jamaluddin Qureshi as the second son, while Shah Muazzamuddin Qureshi is identified as the youngest.
The original mausoleum of Shah Jamaluddin Qureshi, situated on the bank of Bhuiyair-Barir Kal (the canal of the Lords of the Soil), was tragically destroyed in the historic earthquake of June 12, 1897. This revered site had stood since the early 14th century CE, bearing silent witness to centuries of history and heritage.
The name Bhuiyair-Barir Khal (Canal of the Bhuiyair Household) raises an intriguing historical question, as there was no known Bhuiyair Bari (Bhuiya Household) in Shaharpara. This suggests that the name may be linked to the broader history of the Baro Bhuiyan—a confederation of warrior chiefs and landowning elites who ruled parts of Bengal and Assam during the late Middle Ages and early modern period.
The Baro Bhuiyan were not a singular dynasty but a loosely allied group of independent rulers, each controlling their own territories. Their influence extended across Bengal, and it is possible that remnants of their rule or associations left a mark on local toponymy. The canal’s name could indicate a historical connection to a powerful landowning family or military leader who once held authority in the region, or it may have been named metaphorically to denote landowners with significant influence over the area.
Further historical research into land records, oral traditions, and ancient manuscripts may provide deeper insights into how this name became associated with the canal in Shaharpara.
The original mausoleum of Sultan Jamaluddin Qureshi, situated on the bank of Bhuiyair-Barir Kal (the canal of the Lords of the Soil), was tragically destroyed in the historic earthquake of June 12, 1897. This revered site had stood since the early 14th century CE, bearing silent witness to centuries of history and heritage.
Historians believe that Shah Muazzamuddin Qureshi served as the administrator of Iqlim-i-Muazzamabad, and the state was named in his honour. He lived during the time of Muazzamabad’s establishment in 1358, playing a significant role in its governance and development. His influence and administrative contributions were pivotal in shaping the region’s political and economic structure under the Ilyas Shahi dynasty.
Paragal Khan and Khawas Khan both served as Commander-in-Chief under Alauddin
Husain Shah, the independent late medieval Sultan of Bengal. Both men also acted as the administrators of Muazzamabad and were originally from Shaharpara.
The Paragal Khan family is particularly notable as the Jaigirdar family of Shaharpara, with significant landholdings, including ownership of Mirpur Mauza. Their influence in the region further strengthened their position, playing a crucial role in both military and administrative affairs during the period.
Abul Mujāhid Sikandar Shāh, commonly known as Sikandar Shah, was the second Sultan of Bengal and a prominent ruler of the Ilyas Shahi dynasty. He was the son of Shamsuddin Ilyas Shah, the founder of the dynasty.
Ascending the throne in 1358, Sikandar Shah continued to uphold and expand the imperial ambitions of his father, consolidating the independent Sultanate of Bengal. His reign, which lasted until 1390, was marked by efforts to strengthen Bengal’s political and military power, reinforcing its position as a formidable regional force.
Muazzamabad was a prominent mint city where coins were officially struck. One such coin, a 1 Tanka, was minted in Muazzamabad during the reign of Sikandar Shah.
1 Tanka – Sikandar Shah, Iqlim Muazzamabad
Obverse:
“Al-Mujahid fi Sabil al-Rahman Sikandar Shah ibn Ilyas Shah al-Sultan”
(The warrior in the path of the Most Merciful, Sikandar Shah, son of Ilyas Shah, the Sultan.)
Reverse:
“Yamin Khalifat Allah Nasir Amir al-Mu’minin”
(The right hand of the Caliph of Allah, the supporter of the Commander of the Faithful.)
This coin reflects the political and religious authority of Sikandar Shah, reinforcing his legitimacy as a ruler under divine sanction.
A coin known as “Hazrat” was minted in Muazzamabad, struck in honour of the revered Sufi saint Hazrat Shah Jalal (RA).
Shaharpara Muftir Chawk (also known as Ilse) was the estate of the Mufti, a jurist qualified to interpret and issue legal rulings in Islamic law. This estate was originally situated on the bank of Bhuiyair-Barir Kal or Khal (a canal), which has since been transformed into a road.
This road is known by various names, including Shah Kamal Road, Mukam Road, and Dargah Road. Historically, its earliest recorded name was Raj-iyl, which connected to the Shaharpara-Syedpur Main Road. The same road extends further, following the path of the former Bhuiyair-Barir Khal, which has also been converted into a roadway. Ultimately, it links to the Shaharpara-Syedpur Main Road and continues through Pirergaon Road to Mega Khali Road near Bober Bazar.
It is said that Muftir Chawk was gifted to Mufti Da’eem Uddin Qureshi by Hazrat Shah Kamal (RA) on the occasion of his daughter’s marriage. This noble gesture symbolised not only the deep honour and respect bestowed upon Mufti Da’eem Uddin Qureshi but also the profound bond between these two esteemed figures. The gift of Muftir Chawk further cemented the area’s status as a centre of legal scholarship and spiritual significance, leaving a lasting legacy of wisdom and reverence.
Historians recount that Hazrat Shah Kamal Quhafah (RA) brought the entire Kingdom of Laur—also known as Lour, Loud, or ‘Larh’ (La’urh)—under his dominion within a decade, aided by his twelve disciples and the independent State of Iqlim-e-Moazzamabad. This state was established by Shah Muazzam Uddin Qureshi, the second son of Hazrat Shah Kamal (RA), and governed the entire district from Shaharpara in the mid-14th century CE.
The State of Muazzamabad remained independent from the mid-14th century until the mid-18th century, maintaining its sovereignty until it was annexed by the Mughal Empire in 1638 CE.
The full lineage and title of Hazrat Abu Bakr (Radi Allahu Anhu) trace back to his noble ancestry as follows: ‘Abd Allah ibn ‘Uthman ibn Aamir ibn Amr ibn Ka’ab ibn Sa’ad ibn Taym (from whom the title at-Taymi al-Quraishi is derived) ibn Murrah ibn Ka’ab ibn Lu’ai ibn Ghalib ibn Fihr al-Quraishi. In Arabic, the name ‘Abd Allah means “servant of Allah (SWT).”
Before his conversion to Islam, one of his early titles was Atiqe (العتیق), meaning “the saved one.” The Prophet Muhammad (Sallallahu Alaihi Wasallam) later reaffirmed this title, declaring that Hazrat Abu Bakr (RA) was Atiqe, the one saved from Hellfire by the grace of Allah (SWT).
He was also bestowed with the title Al-Siddiq (الصديق), meaning “the truthful,” by the Prophet Muhammad (SAW) after he unwaveringly affirmed the truth of the miraculous event of Isra wal Mi’raj when many others expressed doubt. This title was further confirmed multiple times by Hazrat Ali (Radi Allahu Anhu).
Hazrat Abu Bakr (Radi Allahu Anhu) is one of the few individuals explicitly mentioned in the Quran, referenced as “the second of the two who lay in the cave”, a direct allusion to the historic event of the Hijra. During this critical moment, he accompanied the Prophet Muhammad (SAW) to Jabal Thawr, where they sought refuge in a cave while being pursued by the Quraysh search party.
The significance of his title Siddiq was further emphasised in a narration by Imam Jafar al-Sadiq (RA), who confirmed that it was conferred upon him by the Prophet himself. Notably, Hazrat Imam Jafar al-Sadiq (RA) was both a maternal descendant of Hazrat Abu Bakr (RA) and a paternal descendant of Hazrat Ali (RA). Additionally, Hazrat Jafar al-Sadiq (RA) was a recognised successor in the Naqshbandi Sufi Order, which traces its spiritual lineage back to Hazrat Abu Bakr (RA).
Furthermore, Hazrat Imam Muhammad al-Baqir (RA), the father of Hazrat Imam Jafar al-Sadiq (RA), also addressed Hazrat Abu Bakr (RA) with the title of Siddiq, affirming his esteemed status in Islamic history.
The Naqshbandi Order (aṭ-Ṭarīqat an-Naqshbandiyya) is a distinguished Sufi order within Sunni Islam, named after the revered mystic Hazrat Baha-ud-Din Naqshband (RA). Renowned for its emphasis on silent dhikr (remembrance of God), spiritual discipline, and inner purification, the Naqshbandi path is one of the most influential Sufi traditions in the Islamic world.
The Naqshbandi silsila (chain of spiritual succession) traces its lineage directly back to the Prophet Muhammad (Sallallahu Alaihi Wasallam) through Hazrat Abu Bakr As-Siddiq (Radi Allahu Anhu), the first Rightly Guided Caliph (r. 632–634 CE). This noble lineage also includes Hazrat Ja’far al-Sadiq (RA), a towering figure in Islamic scholarship and spirituality, who serves as a key link in the transmission of the order’s teachings.
Unlike many other Sufi orders that trace their spiritual genealogy through Hazrat Ali (RA), the Naqshbandi Order uniquely follows the path of Hazrat Abu Bakr (RA), emphasising his role in preserving and transmitting the Prophet’s inner teachings. This distinction further elevates its status as a major Sufi order deeply rooted in both the esoteric and exoteric dimensions of Islamic spirituality. http://en.wikipedia.org/wiki/Abu_Bakr
The historian mentioned in the Wikipedia entry for Hazrat Shah Kamal Quḥāfah (RA) states that the descendants of Hazrat Shah Kamal Quḥāfah (RA) are settled in Shaharpara, Patli Aurangabad, and Dargah Mahallah in Sylhet, forming distinguished families known as the Kamalis of Shaharpara, Qurayshis of Patli, and Muftis of Sylhet. The surnames Kamali, Qurayshi, Mufti, Khwaja, Siddiqui, and Shah are commonly used by the descendants of Shah Kamal Quḥāfah.
The descendants of Hazrat Shah Kamal Quḥāfah (RA) have established several notable families, including the Mullah Family, Shahjee Family, and Baglar Family in Shaharpara, the Qureshi Family in Patli, and the Mufti Family in Sylhet Dargah Mahallah. Among them, Maulana Shah Shamsuddin Qureshi, a descendant of Shah Kamal Quḥāfah, established the Qurayshi family in Patli, while Maulana Shah Zia Uddin Qurayshi, another descendant, founded the Mufti Family in Dargah Mahallah, Sylhet.
Mullah Bari was founded by Shah Jalaluddin Qureshi, the eldest son of Shah Kamal, and remains in the possession of his descendants. It became a home for scholars, lawyers, and jurists who interpreted and standardised laws and customs.
Shahji Bari, established by Shah Muazzamuddin Qurayshi, the second son of Shah Kamal, has been passed down through his progeny. It became the home of monarchs (shahs) and statesmen.
Baglar Bari was founded by Shah Jamaluddin Qurayshi, the youngest son of Shah Kamal, and remains with his descendants. ‘Baglar’ means wealthy, and ‘Baglarbag’ refers to the Commander-in-Chief. Baglar Bari was the residence of treasury officials and commanders-in-chief.
Qurayshi Bari was established by Maulana Shah Shamsuddin Qurayshi, a descendant of Shah Jalaluddin Qurayshi, the eldest son of Shah Kamal. It is located west of Patli village. There are five Qurayshi Barios in Kunarpara and one at Aurangabad, both formerly part of the Aurangabad mauza, which have since merged with the greater Patli village.
Mufti Bari was established by Maulana Ziauddin Qurayshi, a descendant of Shah Jalaluddin Qurayshi. Located in Dargah Mahallah, Sylhet, Mufti Bari became the home of jurists who interpreted the law before legal verdicts were issued. Maulana Zia Uddin Qurayshi also founded the first school in Sylhet.
Heritage: The mausoleum of Hazrat Shah Kamal Quḥāfah (RA), alongside his wife and his beloved younger son Shah Jamaluddin Qurayshi, is situated in the Dargah precinct at Kamalshahi, Shaharpara, Sunamganj, Bangladesh. The tomb of his first son, Shah Jalaluddin Qurayshi, is also within the same enclosure. A mosque and a medieval prayer altar, where his disciples meditated for eternal salvation, are located nearby.
The history of the descendants of Hazrat Shah Kamal Uddin (RA) is illuminated in the Nachab Nama, a significant text that sheds light on the lineage and legacy of Hazrat Shah Kamal (RA). The Nachab Nama serves as an important source, offering insights into the lives and contributions of his descendants, who have played prominent roles in various fields, including legal scholarship, spiritual guidance, and community leadership.
According to the Nachab Nama, the descendants of Hazrat Shah Kamal (RA) have carried forward the noble traditions of their forefathers, maintaining their deep connections to both religious and legal teachings. The text highlights how his progeny, spread across regions like Shaharpara, Patli, and Dargah Mahallah, have been integral in establishing distinguished families, such as the Kamalis of Shaharpara, Qurayshis of Patli, and Muftis of Sylhet.
The Nachab Nama also emphasises the significant roles these descendants have played in preserving the teachings of Hazrat Shah Kamal (RA), including their involvement in the establishment of important centres of learning and religious guidance. Through their commitment to both Islamic jurisprudence and spiritual practices, the descendants have upheld the legacy of Hazrat Shah Kamal (RA), ensuring his influence remains strong through generations.
This document not only underscores the spiritual and intellectual contributions of Hazrat Shah Kamal (RA) and his descendants but also offers a deeper understanding of their impact on the communities they served, continuing to inspire reverence and admiration.
Hazrat Shah Kamal Quhafah (RA), also known as Hazrat Shah Kamal Uddin (RA), had three sons: Shah Jalal Uddin, the eldest; Shah Jamal Uddin, the second; and the youngest, Muazzam Uddin. Shah Jalal Uddin was childless. The descendants of Shah Jamal Uddin are known in Shaharpara by five clans: Baglar Gushti, Shahjir Gushti, Mullar Gushti, Sheikh Badi Gushti, and Sheikh Farid Gushti. On the other hand, Shah Muazzam Uddin’s descendants are known as Khadim Gushti, but their clan did not expand as significantly as that of Shah Jamal Uddin, whose lineage grew into five distinct clans in Shaharpara.
Shah Noor Uddin’s son, Shah Najim Uddin, had three sons: Shah Jorif Uddin, the eldest; Shah Sharif Uddin, the second; and Shah Arif Uddin, the youngest, who remained childless. Shah Jorif Uddin had one son, Shah Shukur Uddin, and his descendants are known as the Baglar Gushti. Shah Sharif Uddin had two sons: Shah Musi Uddin, also known as Shah Musi Mahmoud, and Shah Muzaffar Uddin, also known as Muzaffar Khan. The descendants of Shah Musi Uddin are referred to as the Shahjir Gushti, while those of Shah Muzaffar Uddin are known as the Mullah Gushti.
During the Permanent Settlement of 1793, the Taluk (landholding) was registered under the name of Musi Mahmoud, representing the Shahjir Gushti, while the Taluk registered under the name of Muzafur Khan belonged to the Mullah Gushti.
The Taluk of Shah Shukur Uddin was unlawfully taken by his two servants, Wujai and Dusai. In 1793, during the reign of Lord Cornwallis, Shah Shukur Uddin’s hereditary land was registered through the fraudulent act of forgery. The Taluk was deceptively registered under the names of Wujai and Dusai, who were presented as a single person named Wez Mohammad Dost.
Shah Shukur Uddin’s paternal cousins include Musi Mahmoud and Muzaffar Khan, while his distant paternal cousins are Sheikh Baha Uddin and his brother Sheikh Farid Uddin. The Taluk registered under the name of Sheikh Baha Uddin belongs to his family, known as the Sheikh Badi Gushti. Similarly, the Taluk registered under the name of Sheikh Farid Uddin is associated with his clan, known as the Sheikh Farid Gushti.
This lineage reflects the prominence of Shah Noor Uddin and his descendants in the region,
The surnames I mentioned—Qureshi, Khwaja, Shah, Siddiqui, Mufti, and Kamaly (or Kamali)—reflect the different branches or lineages of Hazrat Shah Kamal Quhafah (RA)'s descendants. Each of these surnames carries its own historical significance and denotes a connection to a specific heritage or role within the broader family network.
Qureshi typically indicates descent from the Quraysh tribe, the tribe of the Prophet Muhammad (PBUH).
Khwaja is often used as a title for learned or respected figures and is frequently associated with spiritual scholars or Sufi saints.
Shah can denote nobility or a direct descendant of a revered religious or royal figure.
Siddiqui is a surname used by descendants of Hazrat Abu Bakr (RA), one of the closest companions of the Prophet Muhammad (PBUH).
Mufti refers to a scholar who is qualified to issue legal opinions in Islamic law.
Kamaly or Kamali is a more specific surname likely tied to the particular heritage of Hazrat Shah Kamal Quhafah (RA) himself.
.jpg "Hazrat Shah Kamal Mosque, where the soil matched the sacred earth given by Hazrat Shah Jalal (RA), stands as a testament to his spiritual legacy. In the early 14th century CE, he established the first Khanqah, Mosque, Satduwari, and Eidgah in Shaharpara proper, laying the foundations for a thriving centre of Islamic learning and devotion.")
Out of the six historical families of Shaharpara that trace their lineage to Shah Jamaluddin Qureshi, the second son of Hazrat Shah Kamal Quhafah (RA), in Jagannathpur, Sunamganj, Sylhet, Bangladesh, one of them is the Bagla Gushti, a distinguished branch of the clan of Shah Najim Uddin. This family is popularly known for wearing white clothes, a characteristic associated with aristocracy and the purity of Islam’s royal legacy in Shaharpara, which dates back to the late eighteenth century.
The orthodox Muslim historical family house, Bagla-Bari, from which the residential home derives its name, is the origin of “Bagla Gushti.” The term “Bagla” is believed to have been derived from Bhaga (also known as share), referring to the historical practice of cultivating land under a lease system called crop share (Bhagi). In Bengali, “Bhagi” (ভাগী) refers to both the system of crop sharing and the person involved in such an agreement, usually the tenant farmer who cultivates someone else’s land in exchange for a portion of the harvest.
This traditional arrangement—ভাগ চাষ (Bhag Chash)—was especially common in rural Bengal during the colonial and post-colonial periods. It was not just an economic system but a deeply embedded social structure, reflecting power dynamics, dependency, and survival.
In Bengali, the term Bhagi refers to the practice of sharecropping, while Bhaga means “share” or “portion.” In the Sylheti dialect, Lowar signifies a “share-taker,” and Loa means “to take.” Together, these words once formed the compound phrase Bhaga Lowar Bari (ভাগ লোয়ার বারি), a blend of Bengali and Sylheti—literally meaning “the house of the share-taker”—which was colloquially rendered as Bhag Loa House (ভাগ লয় বারি).
Over time, through the natural processes of linguistic contraction and regional phonetic shifts, Lowar shortened to Lar and Loa to La. The word Bhaga, also spelt Bhag and shortened to Bag in everyday speech, completed the transformation. For example, consider the four-syllable word “Shaharpara.” “Shah” means “monarch” or “spiritual leader,” “ar” means “his,” and “para” means “footstep” or “neighbourhood.” Together, “Shaharpara” means “the monarch’s or spiritual leader’s footstep,” which refers to Shaharpara (the neighbourhood or area around the spiritual leader’s residence). The word “Shaharpara” consists of four syllables: Shah + ar + pa + ra, which together mean “Shah’s footstep,” i.e., Shaharpara.
The Meaning Behind “Baglar”
In Bengali, “Bhagi” (ভাগী) carries multiple related meanings, all rooted in the concept of ভাগ (bhag), meaning share or portion.
1. Crop-sharing system:
“Bhagi” refers to the traditional sharecropping system, where a landowner allows a tenant farmer to cultivate the land in return for a share of the harvest—often half, but it could vary. This system was common in Bengal, especially before land reform movements.
2. Person in the arrangement:
“Bhagi” can also denote the individual who participates in this arrangement—either the tenant farmer who cultivates the land or, contextually, even the landowner. It depends on regional usage and emphasis.
3. The agreement itself:
The term may also refer to the understanding or contract between the parties—a verbal or informal “bhagi” agreement that governed rural agrarian relationships for generations.
The Inam System and the Birth of a Spiritual Centre
Under the Inam system—a centuries-old tradition of granting tax-exempt land to scholars, mystics, and spiritual leaders—Hazrat Shah Kamal Quhafah (RA) was awarded a tract of fertile land in the Sylhet region. The Inam (from Arabic, meaning “gift” or “favour”) was more than a material endowment; it was a spiritual endorsement. Such grants were often bestowed by rulers or local authorities upon Sufi saints and religious reformers to sustain their missions and facilitate the establishment of centres of learning, welfare, and Dawah(religious outreach and education).
Entrusted with the task of propagating Islam in eastern Bengal after the historic conquest of Sylhet in 1303, Hazrat Shah Kamal (RA) founded Shaharpara on this gifted land. With its location by the banks of the Ratna (Rokti) River and nestled amidst fertile paddy fields, Shaharpara soon emerged as a sanctuary of knowledge, piety, and communal harmony. It became a beacon for seekers of spiritual truth and a stronghold for the dissemination of Islamic teachings infused with the inclusive ethos of Sufism.
In time, Shaharpara developed into a Qasbah—a spiritual and intellectual township—marked by the presence of Khanqahs (Sufi lodges), Maktabs (elementary religious schools), and Madrasahs (Islamic seminaries). The descendants of Hazrat Shah Kamal (RA), many of whom became scholars, jurists, poets, and community leaders, carried forward his legacy of spiritual service and social reform.
This fusion of land, lineage, and learning gave Shaharpara a distinct cultural identity. It wasn’t just a village—it was a living heritage site. The Inam land, preserved through successive generations, served not only as an economic base but also as a moral foundation. It ensured that spiritual work remained independent of worldly ambition, dedicated solely to the well-being of the people and the spread of divine knowledge.
In this context, the very name “Shaharpara”—literally, “beside the city” or “border of civilisation”—acquired layered meanings. It stood at the edge of physical and spiritual geographies, linking the agrarian world of Bengal with the transcendent world of divine purpose.
The phrase Bhaga Lowar Bari—colloquially rendered as Bhag Loa House—is deeply embedded in the linguistic and agrarian heritage of Bengal. The term Bhaga, rooted in pure Bengali and etymologically linked to classical Indo-Aryan languages such as Sanskrit, signifies a ‘share,’ ‘portion,’ or ‘allotment.’ It appears in variant forms such as Bhag and is frequently abbreviated to Bag in everyday vernacular. The word Lowar or Loa, drawn from the Sylheti dialect, conveys the meanings ‘taker,’ ‘to take,’ ‘recipient,’ or ‘collector.’ Bari, from standard Bengali, denotes a ‘house,’ ‘household,’ or ‘homestead.’
As is characteristic of oral transmission and regional dialectal shifts, Lowar gradually contracted to Lar, and Loa to La, through the natural process of phonetic simplification. When these linguistic elements—Bag (share), Lar (taker), and Bari (house)—merged, they gave rise to the compound term Baglar Bari or Bagla Bari, meaning ‘the house of the share-taker’ or ‘the house of the share-take.’ This term reflects more than linguistic evolution; it embodies a socio-economic identity rooted in Bengal’s long-standing sharecropping traditions. It stands as both a name and a testament to a way of life in which land, labour, and livelihood were intrinsically entwined.
Hypothetical Etymology of the Term “Baglar”
The term Baglar may hypothetically originate from a confluence of linguistic roots in Bengali, Persian, and Sanskrit—reflecting the region’s rich mosaic of cultural and linguistic heritage.
1. Bengali: “Bagh” (বাঘ)
In Bengali, Bagh means tiger—the national animal of both Bangladesh and India. The tiger serves as a powerful emblem of strength, sovereignty, and national pride, frequently appearing in regional folklore and mythology.
2. Persian: “Bagh” (باغ)
In Persian, Bagh translates to garden—a word widely adopted across South Asian vernaculars, particularly in toponyms such as Lal Bagh and Shalimar Bagh. The term evokes visions of cultivated beauty, fertility, and serenity—an idealised harmony between nature and human artistry.
3. Sanskrit: “Bhaga” (भग)
From Sanskrit, Bhaga denotes share or portion, often in the context of land, agricultural produce, or divine favour.
• Bhagi refers to one who receives or shares in such a portion—especially within agrarian societies, where it is often described as tenant farmers or sharecroppers.
4. Formative Construction: “Baglar”
The suffix -lar may suggest:
• A collective or locative identity—reminiscent of pluralising or demonymic endings (e.g., “people of” or “land of”).
• A phonetic evolution or regional adaptation of earlier linguistic forms.
Alternatively, in certain dialects, lar may function as a possessive marker (meaning “his” or “her”), which opens further interpretive possibilities:
• “His garden,” “his land,” or “his tiger”—referring either to a symbolic figure (a ruler, saint, or guardian) or to a metaphorical sense of ownership (e.g., land under divine or mythic guardianship).
Interpretations of “Baglar”
Depending on its root derivation, Baglar may be interpreted as:
• “Land of Tigers” – if derived from Bengali Bagh
A symbolic terrain of strength, guardianship, or spiritual ferocity.
• “Garden Land” or “People of the Garden” – from Persian Bagh
Suggesting a place of cultivated beauty, sanctity, or royal association.
• “Land of Sharecroppers” or “Shared Land” – from Sanskrit Bhaga/Bhagi
Echoing themes of agricultural livelihood, divine allotment, or ancestral inheritance.
• “His Garden” / “His Share” – if lar is taken as a possessive
Perhaps referencing a mythic or revered individual (e.g., a saint, zamindar, or folk hero), or alluding to a land imbued with sacred or symbolic ownership.
Conclusion
The term Baglar thus presents a richly layered etymology—merging natural symbolism, agrarian history, and linguistic hybridity. Whether evoking tigers, gardens, or sacred shares of land, it embodies a poetic fusion of cultural memory and regional identity, rooted not only in language but in lived tradition.
The Story of Baglar Gushti – A Swift Telling
It began as a village jest—Bagla, the heron—for a family always dressed in white. They moved with quiet grace, their panjabis fluttering like wings. Some mocked; others admired. In time, the name stuck.
What started as a nickname became a lineage. These white-clad figures embodied stillness, dignity, and silent strength—like the herons poised by Bengal’s rivers.
They say flocks of white herons would roost in the bamboo groves around their home, descending each evening to paint the rooftops in white. Thus, the name was not just metaphor—it was memory. Locals called it Baglar Bari—the House of the Heron.
And so, they became Baglar Gushti—the Clan of the Heron. Not just a name, but a legacy draped in white.
The Story Behind the Name of Shahjir Gushti
The founder of Shahjir Gushti was known for elegance—immaculately dressed, composed, and always adorned with shaz, the Bengali word for makeup or refinement.
Villagers, half in jest, began calling him Shahji—a blend of admiration and amusement. Over time, the nickname endured, becoming a mark of grace.
Thus, was born Shahjir Gushti—the Clan of Shahji—descendants of refinement, pride, and poise.
The Story Behind the Name of Mullar Gushti
The founder of Mullar Gushti was a humble Mullah who taught under a tree. Villagers teased him gently—“There’s the open-air scholar!”—with laughter laced in respect.
Over time, mockery gave way to reverence. His teachings and humility left a lasting legacy.
And so emerged Mullar Gushti—the Clan of the Mullah—rooted in simplicity, knowledge, and faith.
The Mockery That Became Legacy: The Clan Names of Shaharpara
In Shaharpara, sometime after 1793, names were not given—they were earned, sometimes through praise, sometimes through jest.
Baglar Gushti began with a family in white, gliding like herons through the village. At first, people laughed. Then they watched the real herons nesting in the bamboo groves nearby. What began in mockery became memory. Dignified and still, the family wore the name with pride.
Shahjir Gushti came from a man who adorned himself with style and grace. The villagers called him Shahji, half-teasing, half-admiring. That name became a legacy of polish and elegance.
Mullar Gushti was born under a tree where a Mullah taught his pupils. Once mocked, he came to be remembered with reverence. His legacy lives in quiet devotion and learning.
Thus, in Shaharpara, even laughter bore fruit. What began in jest became heritage—names rooted in story, softened by time, and carried forward with pride.
A Legacy Beyond the Jest
Probably, the names Baglar, Shahjir, and Mullar Gushti did not exist in their established clan form at the close of the 18th century. By 1793, during the era of the Permanent Settlement under Lord Cornwallis, these lineages were still represented by singular households—distinguished by inheritance, social standing, and ancestral merit, yet not yet unified under the colloquial titles by which they are now known.
A clan, after all, is not born of a moment—it is cultivated over generations, like branches spreading from a common ancestral trunk. The names in question, born of jest and local humour, most likely emerged toward the latter part of the 19th century or the early 20th, as once-individual households expanded into broad family trees with recognisable lineage and collective identity.
What may have begun as playful mockery in the courtyards and rice fields of Shaharpara gradually evolved into enduring markers of heritage. While jest may have been the spark, it was time, honour, and the resilience of tradition that transformed these informal names into proud designations of clan and community—names that today carry memory, dignity, and the quiet weight of legacy.
It is essential to note, however, that these names were not coined by outsiders. The villagers of Shaharpara held these families in deep reverence, fully aware of their noble lineage as descendants of the region’s legendary pioneers—spiritual luminaries and custodians of religious guidance. These were not names forged in malice, nor in ignorance, but rather in the intimate realm of familial jest.
The mockery, if it can even be called that, arose from within the households themselves—from brothers, cousins, and kin who found joy in affectionate teasing, who understood that laughter could coexist with legacy. In truth, these playful epithets became cherished in time, worn with a curious mix of pride and humility. What began as inward banter among those who shared blood and ancestry eventually took root in the language of lineage.
Thus, these names—Baglar, Shahjir, Mullar—carry with them not the sting of ridicule, but the warmth of familiarity. They stand as a testament not only to the endurance of family but also to the confidence with which these families bore their history: unshaken by jest, upheld by reverence, and etched into the very soil of Shaharpara.
The Lineage of Honour: Origins of Baglar, Shahji, and Mullar Gushti
The Heron Clan: Baglar Gushti
The name Baglar finds resonance in both agrarian heritage and ancestral entitlement. It stems from the Bengali word Bhag (ভাগ), meaning “share”—a concept deeply tied to the inheritance of land. In the familial estate system of Bengal, land was not only a resource but a reflection of identity. A man’s bhag was his portion of the ancestral land—his honour, his responsibility, and his legacy.
The founder of the Baglar Gushti was a direct heir to Shah Jorif Uddin, whose father, the esteemed Shah Najim Uddin, had divided his land equally between his two sons: Shah Jorif Uddin and Shah Sharif Uddin. From this inheritance, Shah Jorif Uddin’s son received a portion that, in measure, exceeded that of his cousins Shah Musi Mahmoud and Shah Muzaffar Khan, the sons of Shah Sharif Uddin. This was not a matter of favouritism, but of generational divisions—where one line consolidated its share while the other split theirs between brothers.
The term Baglar—combining Bag (share) with lar (descendant or lineage)—thus came to denote the “descendants of the land-share,” the inheritors of a defined and significant portion of ancestral soil. This was not only a title of remembrance but one of legal and cultural substance. The Baglar Gushti was never defined by jest or appearance but by rightful share, lineage, and the duties that came with land and leadership.
Shahji Gushti – The Clan of the Noble Talukdar
The founder of Shahji Gushti was a Talukdar of distinction. As a landholder and community steward, he presided over the welfare of numerous families. His responsibilities extended far beyond mere ownership—he was a protector, a decision-maker, and often a patron of local institutions.
The title Shahji may have emerged from respectful colloquial usage—a fusion of Shah, denoting noble descent, and ji, an honorific suffix reflecting esteem. This was no casual nickname but a reflection of dignity. The Shahji Gushti, as his descendants became known, were not recipients of mockery but bearers of a title steeped in recognition and public respect.
Mullar Gushti – The Talukdar’s Legacy
Similarly, the founder of Mullar Gushti was not a village mullah in the narrow religious sense, but a respected Talukdar—one whose role encompassed administration, arbitration, and the guardianship of local life. The use of the term Mullah or Mullar in this case, over time, became a familial designation—not as a reflection of religious instruction, but of leadership and historical identity.
In rural Bengal, names often emerged organically from local memory, oral history, or administrative references. What may seem an unusual linguistic evolution is, in fact, a testament to how titles and lineages were carried forward in community consciousness. Far from mockery, these titles encapsulated esteem, function, and lineage continuity.
Honour, Land, and the Naming of Clans
The naming of clans in Shaharpara, therefore, must be understood within a historical and socio-economic framework. Each Gushti name—whether Baglar, Shahji, or Mullar—is not a triviality but a repository of history. They signify ancestral duties, legal rights to land, and the responsibilities inherited with it.
They are the echoes of a deeper order—of Talukdars who provided structure to rural life, of equitable inheritance that ensured social balance, and of language shaped by memory and respect.
Thus, in the mosaic of Shaharpara’s spiritual and agrarian history, these clan names are not footnotes—they are pillars.
The history of Shaharpara bears a resemblance to the clan system of the Quraysh, the noble tribe of Arabia.
At the end of the 18th century, the descendants of Shah Jorif Uddin and Shah Sharif Uddin divided their hereditary land into two equal shares. Before this division, both families lived together in their ancestral home at Shahjir Bari. Following the partition, Shah Shukur Uddin’s share became Baglar Bari, while Musi Mahmoud and Muzaffar Khan’s share remained
Shahjir Bari.
Baglar Bari became a centre where tenant farmers leased paddy fields for cultivation. It was located immediately south of Shahjir Bari. The name Shahjir Bari originated from the family of Shah, as it was home to the descendants of Hazrat Shah Kamal (RA).
On the northern side of Shahjir Bari, there was most likely a house where Islamic scholars resided, known as Mullah’s House. When the two brothers, Musi Mahmoud and Muzaffar Khan, divided their land, Musi Mahmoud took the southern side of Shahjir Bari, while Muzaffar Khan took the northern part, which included the residence of the scholars.
As a result, Mullah Bari derived its name from this house of scholars, emphasising its historical connection to Islamic learning and jurisprudence.
Later, a part of the Baglar family moved to School Bari, a newly established home covering approximately five acres. Over time, an additional two acres of land were acquired immediately to the south from the nearby paddy field, situated on the western riverbank of Ratna Nodi in the greater Shaharpara area. Notably, School Bari was the only house in the Muaza of Rasulpur that belonged to this family. This transition occurred between the late 19th and early 20th centuries, marking a significant expansion for the noble family of Shaharpara, Jagannathpur, Sunamganj, Sylhet, Bangladesh.
In 1958, part of the School Bari family relocated to Akbar-Kutir, commonly known as Master Bari, in West Tilak, continuing the family’s migration and establishment in new areas during the mid-20th century.
The members of Mullah Gushti, including Mawlana Shah Shams-Ud-Din Qureshi, relocated to Patli, where they became known as the Qureshi family of Patli.
Bismillah Hir Rahman-nir-Raheem
In the name of Allah (SWT), the Most Gracious, the Most Merciful
The genealogical lineage of Hazrat Shah Kamal (RA) is enriched by many revered ancestors, as recorded in Shahji Gushti's family genealogy book, which traces the noble heritage of our family. According to the elders of the family, the original genealogy manuscript, which originated from the father of Hazrat Shah Kamal (RA), was tragically lost or damaged due to natural calamities. Some believe that a concubine from our family, who was not treated with the same regard as the others, took the family history book with her when she left the village and never returned. Fortunately, another surviving genealogical record of Hazrat Shah Kamal (RA) was preserved by Maulvi Abdul Heleem, a direct descendant of Hazrat Shah Kamal (RA).
Later, my grandfather's younger brother, Mohammad Jahir Master, reconstructed the family genealogy from his memory, drawing on the accounts passed down by generations of elders. The genealogy presented here is based on my father's meticulously researched files. In ancient times, people cherished the memory of their ancestors, passing their names down through storytelling. One such remarkable family narrative is that of Shah Shukur Uddin. The genealogy provided by my family has been consistently updated to reflect the current generations.
In the name of Allah (Subhanahu wa Ta'ala), the Most Compassionate, the Most Forgiving, the Most Merciful, I now embark on the sacred task of documenting our family genealogy. Originally recorded in a Bengali manuscript, I have translated this valuable record into English. Ya Rabbul-Alamin, “O Lord of the Worlds,” Creator and Sustainer of all, I beseech You to forgive the sins of my beloved parents and all my ancestors and grant them a place in Your Paradise. I seek forgiveness for my own sins as well. The birth and death details of my ancestors, initially recorded in a small notebook by my late grandfather’s younger brother, Mohammad Jahir alias Zaheer Ali (Master), were later copied by my father.
In the late 19th century, the birth and death dates of family members were carefully documented in the genealogical bloodline book of Hazrat Shah Kamal's (RA) branch family. This family eventually branched out into several distinguished clans, including Baglar Gushti, Mullar Gushti, Shahjir Gushti, Sadardi Gushti, Sheikhbadi Gushti, Sheikh Farid Gushti, and Khadim Gushti within Shaharpara. Additionally, there are Qureshi Gushti in Patli and Mufti Gushti in Dargah Mahalla, Sylhet, alongside numerous matrilineal branches.
After my grandfather passed away, my late father, Akbar Ali (Master), faithfully transcribed his notebook into a new writing pad, which he titled "Heredity in Bloodline." This remarkable work was later continued by my elder brother, Mohammad Arbab Hussain Kamaly, who introduced a new approach by documenting the family members and including their marriage dates in the updated edition.
As the pages of this small writing pad began to run out, my brother began anew in a fresh notebook, starting with our ancestor Hazrat Shah Kamal (RA), the Sufi saint of the fourteenth century, and his father Hazrat Shah Burhan Uddin (RA). The shrine of Hazrat Shah Kamal (RA) still stands in Shaharpara, a testament to the widespread acceptance of Islam in the region, alongside the tombs of his children.
Although the manuscripts of my grandfather and father do not contain the complete lineage from Hazrat Shah Kamal Uddin’s (RA) father, Hazrat Shah Burhan Uddin (RA), to Shah Noor Uddin, and there are gaps in the ancestral record, the lineage of Hazrat Shah Kamal (RA) and his sons has been well preserved. Their tombs still stand in Shaharpara as enduring testaments to their legacy.
While the tombs of their grandchildren do not have headstones, they are buried in the graveyard in the precincts of the Dargah of Hazrat Shah Kamal Quhafah (RA). After considerable effort, on May 16, 1995, my elder brother, Arbab Hussain Kamaly, with the assistance of our cousin, Shah Zillur Rahman Kamali, a descendant of Hazrat Shah Kamal (RA), successfully documented the family lineage.
This book, detailing the bloodline of Hazrat Shah Kamal Quhafah (RA), a descendant of Hazrat Abu Bakr (Radi Allahu Anhu), the first Caliph of Islam, will serve as a lasting legacy for future generations. I hope that the rightful successor will continue to preserve this invaluable document with great care, as it chronicles the rich heritage of our family.
The genealogical book, traditionally referred to as "Kristi," should more appropriately be called the "Kulji" genealogy book, also known as Kristi Bahi, which means the "genealogical book of hereditary bloodlines." This book concludes with a wish for its eternal continuation within the family, preserving the noble legacy of Hazrat Shah Kamal Quhafah (RA). May Allah (subhanahu wa ta'ala) shower His blessings upon our family of Shaharpara, and may the legacy of Hazrat Shah Kamal Quhafah (RA) endure with undiminished dignity.
This remarkable genealogy began with my grandfather’s younger brother, Mohammad Jahir Ali Master, and was continued by my father. After dedicating years of effort to this genealogical endeavour, Shah Zillur Rahman Kamali, with his ancestral knowledge, greatly assisted my brother, Arbab Hussain Kamaly, in the preservation of our family history. This lineage was passed down through generations and preserved by Maulvi Abdul Heleem, who translated the Nachab Nama (Kristi) from Arabic into Persian. In 1993, Shah Zillur Rahman Kamali further translated it from Persian into Bengali, and the genealogy was eventually translated into Urdu and Bengali by various family members and experts.
I express my deepest gratitude to our cousin, Shah Zillur Kamali, for his unwavering dedication to preserving this important family record. May Allah (subhanahu wa ta'ala) reward him and his ancestors for safeguarding this treasure. Without their invaluable contributions, the history of Shaharpara and our family’s legacy would not have been preserved. May Allah (SWT) shower His mercy upon all of them on the Day of Judgement.
The genealogy of my family traces its lineage to Hazrat Abu Bakr (Radi Allahu Anhu), the first Caliph of Islam, and further back through Adnan to Prophet Hazrat Ismail (AS), the eldest son of Prophet Hazrat Ibrahim (AS). Hazrat Shah Kamal Quhafah (RA) was a direct descendant of Hazrat Abu Bakr (Radi Allahu Anhu) through his son, Hazrat Abdur Rahman Ibn Abi Bakr (Radi Allahu Anhu).
The family lineage, meticulously documented in the Nachab Nama (an Arabic term meaning “lineage”), begins with Khwaja Shah Burhan Uddin Ketan (RA), the father of Hazrat Shah Kamal Quhafah (RA), and continues as follows:
1. Hazrat Shah Burhan Uddin (RA), revered as Shah Kat’tal, Qat’tal Shah, and Qazi Kadal Khan. Born around 1230 AD, he was a prominent Sufi saint whose shrines are in Katalganj, Chittagong, and Faringajuri.
2. Hazrat Shah Kamal (RA), born in 1291, Hazrat Shah Kamal (RA) lived to the age of approximately 91, passing away in 1385. He was a direct descendant of Hazrat Abu Bakr (RA).
3. Shah Jamal Uddin (RA), the second son of Hazrat Shah Kamal (RA), as recorded in the Nachab Nama, is a distinguished figure in our family history.
4. Shah Jahangir Uddin (RA) was also recorded in the Nachab Nama.
5. Shah Sulaiman Uddin (RA) was another distinguished figure from the Nachab Nama.
6. Shah Zamin Uddin, also pronounced as Shah Zamin-ud-Din or Ad-Din, as documented in the Nachab Nama.
7. Shah Razzak Uddin, also pronounced as Shah Razzak-ud-Din or Ad-Din, according to the Nachab Nama.
8. Shah Zaman Uddin, also pronounced as Shah Zaman-ud-Din or Ad-Din, according to the Nachab Nama.
9. Shah Jabir Uddin, also pronounced as Shah Zabir-ud-Din or Ad-Din, as recorded in the Nachab Nama.
10. Shah Amir Uddin, also pronounced as Shah Amir-ud-Din or Ad-Din, according to the Nachab Nama.
11. Shah Anwar Uddin, also pronounced as Shah Anwar-ud-Din or Ad-Din, according to the Nachab Nama.
12. Shah Shafi Uddin, also pronounced as Shah Shafi-ud-Din or Ad-Din, as per the Nachab Nama.
13. Shah Sulaiman Uddin, also pronounced as Shah Sulaiman-ud-Din or Ad-Din, according to the Nachab Nama.
14. Shah Irfan Uddin, also pronounced as Shah Irfan-ud-Din or Ad-Din, according to the Nachab Nama.
15. Shah Sofir Uddin, also pronounced as Shah Sofir-ud-Din or Ad-Din, according to the Nachab Nama. His younger brother, Shah Shamsher Uddin, also known as Abdul Hamid Qureshi (or Hamid Khan Qureshi), was the last ruler of Muazzamabad. He perished in 1740 during the Battle of Giria alongside Nawab Sarfaraz Khan of Bengal.
16. Shah Noor Uddin, also pronounced as Shah Nur-ud-Din or Ad-Din, according to the Nachab Nama.
17. Shah Nijam Uddin, also pronounced as Shah Nizamud-Din or Ad-Din, as per the Nachab Nama.
18. Shah Jorif Uddin, also pronounced as Shah Zarif-ud-Din or Ad-Din, as recorded in the Nachab Nama.
19. Shah Shukur Uddin, also pronounced as Shah Shukr-ud-Din or Ad-Din, according to the Nachab Nama. Family tradition suggests he was born around 1780 or later, possibly as a child or pre-teen when Lord Cornwallis instituted the permanent settlement (the zamindari system) in 1793.
In a groundbreaking verdict, the Shalish village court upheld justice for the heirs of Shah Shukur Uddin, restoring 25% of his rightful land. This historic decision not only reaffirms the enduring power of traditional judicial systems but also marks a turning point in the legacy of ancestral land reclamation.
A staggering hypothetical estimation suggests that the total land in question spans 1,400 Kiyars—where each Kiyar equals 30 decimals—amounting to an astonishing 420 acres. This revelation reshapes the narrative of land inheritance, proving that history, when honoured, has the power to return what was lost.
20. Shah Moniur Uddin, also pronounced as Shah Moniur-ud-Din or Ad-Din, according to the Nachab Nama.
21. Shah Fazil, according to the Nachab Nama.
22. Shah Hajir Mohammad, as per the Nachab Nama.
23. Shah Mohammad Ashim was born on an unknown date and passed away in Falgun 1350 of the Bengali calendar (February- March 1944 AD), according to the Nachab Nama. According to family accounts shared by my esteemed elder brother, Mohammad Abul Hussain Kamaly, who grew up alongside our grandfather, Shah Mohammad Ashim, lived to an advanced age and was quite elderly at his passing. Our grandfather, too, was nearly a century old when he passed, estimated to have been born between 1860 and 1870, according to both my brother's and my own observations.
24. Mohammad Akbar Ali, known as Shah Mohammad Akbar Ali Qureshi (Kamaly) as per the Nachab Nama, was born on 30th September 1902 and passed away on 17th September 1985 at the age of 83.
25. Mohammad Muazzam Hussain Kamaly, also known as Dilai Meah or commonly referred to as Dilly Meah, was born on 8th March 1965.
26. Mohammed Al-Hamim Hussein Kamaly (Hamim) was born on 6th April 2006.
1. Hazrat Pir Kallu Shah (Rahmatullahi Alaihi) – From Pirergaon in Jagannathpur Upazila. His descendants are found in Shaheeb-bari, Pirergaon.
2. Hazrat Shah Chand (Rahmatullahi Alaihi) – Offspring of Hazrat Pir Kallu Shah, from Chand Bharang in Bishwanath Upazila. His descendants are known as the Shah or Chowdhury family of Chand Bharang.
3. Hazrat Dawar Bakhsh Khatib (Rahmatullahi Alaihi) – From Dawarai in Jagannathpur Upazila. His descendants are known as the Khan family of Dawarai.
4. Hazrat Dilwar Bakhsh Khatib (Rahmatullahi Alaihi) – Younger brother of Hazrat Dawar Bakhsh Khatib, also from Dawarai in Jagannathpur Upazila. His descendants are recognised as the Khan family of Dawarai.
5. Hazrat Shaikh Shamsuddin Bihari (Rahmatullahi Alaihi) – From Aatghar in Bishwanath Upazila. His descendants are known as the Khan family of Aatghar.
6. Hazrat Shah Faizullah (Rahmatullahi Alaihi) – From Fesi in Jagannathpur Upazila. Historians are silent regarding his descendants.
7. Hazrat Shah Jalaluddin (Rahmatullahi Alaihi) – From Kuskipur in Osmani Nagar Upazila. His descendants are known as the Shah family of Kuskipur.
8. Hazrat Syed Shah Taj-ud-Din (Rahmatullahi Alaihi) – From Tajpur or Orompur in the Aurangapur Pargana of Osmani Nagar Upazila, Sylhet District. His descendants are recognised as the Sayyids of Orompur.
Hazrat Syed Shah Taj-ud-Din (RA), Hazrat Syed Shah Baha-ud-Din (RA), Hazrat Syed Shah Rukn-ud-Din (RA), and Hazrat Syed Shah Shams-ud-Din (RA) were brothers, all descendants of Hazrat Syed Ala-uddin (RA) and maternal nephews of Hazrat Shah Kamal Quhafah (RA). Their father arrived in Sylhet with Sultan Hazrat Shah Jalal (RA), but they travelled with Hazrat Shah Kamal Quhafah (RA) from Baghdad in present-day Iraq.
9. Hazrat Syed Shah Baha-ud-Din (Rahmatullahi Alaihi) – From Bhadeshwar in Gulapganj Upazila. Historians are silent regarding his descendants.
11. Hazrat Syed Shah Shamsuddin (Rahmatullahi Alaihi) – From Syedpur in Jagannathpur Upazila. His descendants are known as the Syed family of Syedpur.
The names of the aforementioned villages were derived from the settlements of these revered saints, who had sworn an oath of allegiance to Hazrat Shah Kamal Quhafah (RA). They were entrusted with the noble mission of propagating Islam and nurturing humanity across the region of the Sunamganj District—formerly known as Shologhar—and parts of Jalalabad (now Sylhet). As these dedicated successors successfully fulfilled their mission, they were granted the privilege of marrying local women and establishing their own families. Over time, these families became landowners, revered as the landlord families of their respective areas.
The victory of Sylhet stands as one of the most awe-inspiring chapters in the rich tapestry of history. Initially, the attempt by Sikandar Ghazi, with the force of Nasiruddin Sipah Salar, faltered in its mission to conquer the region. The strength of their forces, though mighty, was not enough to secure the land. However, destiny had other plans. It was not until the fourth attempt, led by the revered Hazrat Shah Jalal (RA) and his devoted disciples, that the true power of faith and perseverance unfolded.
Hazrat Shah Jalal (RA), a beacon of divine wisdom and spiritual strength, alongside his companions, embarked on a journey not just of conquest but of enlightenment. Their unwavering devotion, tireless efforts, and divine blessings turned the tide. The mighty forces of Gaur Govinda were ultimately defeated, and the victory of Sylhet was achieved. This triumph was not simply the result of military strategy but of spiritual resolve, the unity of purpose, and the powerful guidance of a true spiritual leader.
In this victory, we see the triumph of righteousness over tyranny, of faith over adversity, and of the strength of a unified, devoted people. The legacy of Hazrat Shah Jalal (RA) and his companions remains an eternal testament to the power of perseverance, spirituality, and the divine will. Through their sacrifice and determination, the victory of Sylhet became not just a military conquest but a symbol of divine triumph in the world of men.
The Silent Echo of Tilak: A Journey Through History, Music, and Memory
In the heart of a quiet, prehistoric village lies the enigmatic Tilak—also spelt Tilok. This village, steeped in history, finds its roots in Hindu traditions, where the name itself has a powerful connection to one of the most symbolic rituals in Hindu culture: the tilak, the sacred mark placed upon the forehead. This mark, often seen as a symbol of blessing or protection, is not just a physical one but carries the weight of generations of ritual, meaning, and memory.
The Rhythm of Life
The villagers of Tilak, like many of their ancestors, have lived in harmony with the land, their culture, and their music. Each sunset, as the day transitions to night, the air is filled with the soft, melodic tones of traditional instruments—dhol, kartal or manjira- and the enchanting harmonies of voices woven together in songs that have stood the test of time. For them, music is not just an art form; it's a way to connect with their divine purpose, a ritual that transcends the ordinary and becomes a profound expression of faith.
A Dark Chapter: The Bangladesh Liberation War
But even in the most sacred of places, history casts its shadow. On August 31st, 1971, during the brutal massacre in Sriramshi, also known as Siramishi village, tragedy struck. The smell of death permeated the air. It was a time when the innocence of life was torn asunder and when the land was stained by the horrors of war. The fields of Duwalabon (or Daulahbon), nestled in the northwest part of Shaharpara, became an open graveyard, a place where the lifeless bodies of loved ones and strangers alike floated in the waterlogged fields. The stench of death, thick and indescribable, hung heavy in the air—an olfactory reminder of the brutality that humans are capable of.
Rebirth Amidst Ruins
But as with all things, there is always the promise of rebirth. When Bangladesh finally gained its independence, the land that had once borne the weight of so much suffering began to heal. The fields, which had once been a mass grave, bloomed again with the bounty of nature. The paddy fields were alive once more, and the harvest season brought with it a sense of renewal. In 1973, I remember walking home after the Maghrib prayer, the sun dipping below the horizon, with my father by my side. The air was thick with the smell of ripening paddy, and the sounds of busy harvesters at work filled the night.
A Village Beyond Time
Tilak, in its essence, is not just a village—it is a symbol of survival, faith, and cultural resilience. It is a place where the past and present intertwine, where music and memory form the backbone of a community that refuses to forget its roots. The tilak mark, once a simple symbol on the forehead, now carries the weight of everything the village has endured—the joy, the sorrow, and the enduring belief that music and faith can guide even the darkest of times.
As I reflect on the history of Tilak, I am reminded that every community, no matter how small, holds within it a story—a song of survival, a prayer for peace, and a legacy of resilience. And in the music of this village, you can still hear the echoes of those who came before us, still playing their instruments, still praying their prayers. For Tilak, the past is not just a memory—it is a living, breathing part of the present, carried forward in every note, every gesture, every ritual.
In a world that often forgets, Tilak remembers.
My father once told me a story, one that has lingered in my mind for years. It’s a tale of three modest men whose paths converged on a dusty, three-way dirt track. Each of them, humble in nature, set out for the same purpose: work and a better future. Their answers were simple, yet each bore the weight of a personal ambition. Little did they know that their meeting would mark the beginning of a profound journey that transcended their simple intentions.
When the first man awoke, he looked around and noticed a branch lying on the ground near him. Without a moment's hesitation, he began to shape the branch with his hands, his mind and fingers working together. Slowly, a beautiful sculpture emerged—a figure of a woman. It was delicate, intricate, and filled with a kind of elegance. Proud of his creation, the first man placed the sculpture carefully under the tree, carving his name into the wood beside it.
Not long after, the second man awoke. His eyes fell upon the sculpture, and he marvelled at its beauty. Inspired, he began to gather leaves, weaving them together to create a dress for the figure. The leaves seemed to come alive in his hands, transforming the sculpture into something even more beautiful. When he finished, he too placed his mark beside the sculpture, leaving his name along with the dress.
The third man awoke later and saw what the other two had done. The sculpture, now draped in a beautiful dress, was radiant. He couldn’t help but feel the urge to add something more. Using tree bark, he crafted delicate jewellery, wrapping it around the figure’s neck and wrists. It was the finishing touch. The sculpture, now fully adorned, glowed in the dappled sunlight beneath the tree. The third man, too, left his mark and his name beside the work.
And just as suddenly as they had appeared, the three men vanished, each continuing on their separate paths, their work complete. The sculpture remained under the tree, a testament to their creativity and a lasting reminder of their contributions.
The Deeper Meaning
This story, as told by my father, carries with it a profound lesson. It teaches us not to judge or recognise people by their faces or appearances, but by the work they leave behind. Each man, with his own unique skills and vision, contributed to something greater than themselves—a creation that will outlast them and that could only have come from their individual hands.
The knowledge, creativity, and hope that drive us forward are infinite, much like the true essence of an artist or a person who lives a life of purpose. The men in the story didn’t seek recognition or fame; they simply expressed themselves through their work. They didn’t aim to invent but rather to rediscover. The sculpture, in all its stages, represented an ongoing process—one that transcends the self and reaches for something eternal.
The true artist, much like the true man, never truly dies. Their work lives on, not because of the fame it may bring, but because it speaks to something deep within us all. It’s an expression of the human spirit, a reminder that creativity and the pursuit of something greater than ourselves never end.
Just as the men added their individual contributions, our lives, too, are a collection of moments, actions, and creations. What we leave behind and what we give to the world is what ultimately defines us. It is not our face, our outward appearance, or even our intentions alone that matter—it is the legacy of our work that lives on, long after we’ve disappeared.
A Journey Through Music, Culture, and Community: My Life in London and Beyond
The Power of Music and Devotion
London, with its blend of cultures and endless opportunities, quickly became a canvas for my creative expression. I began learning the tabla and singing under the guidance of various musicians, both known and unknown. I was fortunate enough to be surrounded by internationally renowned maestros who not only taught me their craft but also shared with me the importance of devotion to music and nature. The majestic beauty of the natural world—its landscapes, its energy, and its serenity—became a constant source of inspiration for my work.
One of the greatest gifts I received was from Yousuf Bhai, who, through his generosity, helped me secure my own flat at 48/1 Princelet Street on December 18, 1989. With this newfound stability, I founded the Jalali Music School (1989-2000), a voluntary community initiative that sought to foster a love for music among the local youth. What began as a simple school soon became a beacon for aspiring musicians, and some of my pupils are now well-established figures in the music industry.
I was also fortunate to have studied under the guidance of a number of remarkable teachers, including the late Khondker Emdadul Hoque Manna, a Swadhin Bangla Betar Kendra radio personality, trained under the legendary Shyamal Mitra. Other teachers included Ustad Fida Hussain Khan, who had accompanied Ustad Alla Rakha Khan for twenty-four years, and Devo Chowdhury, who was a student of legendary Pandit Radhakanta Nandi, a disciple of the famous Benares Gharana. I, too, was a pupil, humbly absorbing the knowledge passed down through generations.
A Mystical Experience in the Paddy Fields
In 1980, back in my village in Bangladesh, an experience would forever change my connection to music. I was staying alone in a bungalow room at the front of the main house when, at midnight, I heard rhythmic sounds coming from the nearby paddy fields. Compelled by the music, I grabbed my lantern and walked toward the source of the sound. When I reached the middle of the paddy field, the music suddenly stopped.
Surrounded by darkness, with only the light of my lantern to guide me, my heart began to race. At that moment, I called out to a local singer named Nazrul Islam, who was from Chaktilak aka Lalarchawk. He answered my call, and I felt a sense of calm wash over me. I asked him why they had stopped playing music, and he explained that they feared the elders from the village would punish them for playing music. Even though they were far from the residential area, in the middle of the paddy field, they played cautiously, aware of the prohibition in their community against playing music after dark.
.jpg "Dilly Meah, Kondukar Edadul Hoque Manna, Abdul Rob, Mennon Rahman, Night in Bengal Launching party")
This experience was deeply transformative. The haunting Baul music in the open air under the night sky filled me with love and wonder. It sparked a desire to learn more and explore the authenticity of this folk tradition, which would become a lifelong pursuit.
The London Music Scene and My Beginnings in the Arts
In 1981, I found myself immersed in the vibrant world of Bangladeshi artists in London, meeting figures such as Runa Lila, Goni Sarkar, Abdul Jabbar, Indo Mohan Rajbanshi, Sadeque Ali (son of Ustad Mubarak Ali), and many others. These encounters, facilitated by the late Md. Turab Uddin and Md. Aroj Ali shaped my musical journey and introduced me to the world of fusion music.
My first full-time job in London was at a clothing factory in 1981, managed by the renowned Aroj Ali. I started as an apprentice and later became a sewing machinist. This job, though humble, allowed me to support myself, buy instruments, and continue my musical training. The factory had a tradition of playing a mix of Indian, Bangladeshi, and Greek music on national radio, and this eclectic blend of sounds nudged me toward the world of fusion music.
A Football Legacy and Community Involvement
John Newbigin, who later became the chair of Creative England, a national agency supporting creative businesses, was a key figure in our team’s journey. His support, along with that of Caroline Adams, a cultural activist and author, helped guide us to success. Caroline, who had been involved with refugees during the Bangladesh Liberation War, always treated us like her own children. Her love and mentorship were invaluable, and she, along with Newbigin, played an instrumental role in shaping my perspective on community and the importance of cultural preservation. http://www.creativeengland.co.uk/A Triumph in Football and the Spirit of Community
In 1985, Yousuf Bhai organised a local football tournament in our village. Our team, consisting of local players and hired professionals, faced off against a well-trained team of villagers. I was the youngest player on the field, and during one pivotal moment, I tackled the ball and raced toward the goal. Yousuf Bhai kicked the ball into the net, scoring the winning goal, and we claimed the trophy, a large goat (Ramsagal), as our prize.
This victory was not just about football; it was a celebration of our community, our unity, and the support we had from one another. Whether through music, sport, or cultural activism, the experiences of my early years in London and Bangladesh were defined by a sense of collective purpose—a belief that together, we could overcome any obstacle and build a better future.
In 1993, amidst the serene countryside of Bangladesh, I experienced something that remains etched in my memory—a moment both surreal and inexplicable. On a moonlit night, I found myself walking with a group of companions toward a musical gathering—a celebration arranged in my honour by my maternal nephew, Mukit Miah of Porchim Bari, Nurainpur, alongside his friends, including Choto Miah of the Shahjeer family.
The night was hushed, illuminated only by the soft, silver glow of the moon as we followed a narrow path skirting the canal that separates Narayanpur from Buraiya. We chose not to carry torches, placing our trust in the moonlight to guide us. The air was calm, alive with the quiet rustle of the countryside—until the stillness was broken by something wholly unexpected.
As we passed the cobbler’s house—a familiar landmark along our route—I noticed a strange light moving beside me. None of us had torches, so the glow could not have come from us. At first, I thought it was a trick of the eye, convinced I alone was seeing it. But this was no ordinary glimmer—it cast itself on the ground in the shape of a U, or an arch, not unlike a floating tube light. Strangely, it moved in perfect harmony with my steps, as though it were tethered to me by some invisible thread.
A few seconds passed before Mukit suddenly halted. “There’s a light following us,” he said, his voice a mix of wonder and alarm. I turned, still trying to rationalise the phenomenon. Could it be a reflection? Perhaps something I was wearing? But Mukit was insistent. “No, it’s not your reflection. It’s something else.”
The others stopped in their tracks. Mukit instructed us to move one by one, slowly and deliberately. As I resumed walking, the light moved with me once more, mimicking my every step. I tried to dismiss it as a mere illusion—some trick of the night—but the more I walked, the more undeniable it became:
I was dressed in a tracksuit, my trainers making soft sounds as I walked on the dirt path. I started to experiment, stretching my arms and legs, trying to touch the light. But no matter how much I reached out, I couldn’t quite touch it. What happened next, though, would stay with me forever: I found myself right in the middle of the light, surrounded by its soft, gentle glow. For a few minutes, I remained within this strange light, feeling both special and uneasy. The light felt constant, like a protective cocoon, but the longer I stayed in it, the more a sense of dread began to creep in.
I started to feel as though I were trapped, walking within a two-dimensional round-top birdcage or drawing of a U-shaped, round-top birdcage with one line. The glow beneath me felt like it was coming from a celestial body, not something of this earth. It wasn’t just a light—it felt alive, almost sentient, as though it was aware of my every move. And with that awareness, my thoughts turned to deeper reflections about the fleeting nature of life. I found myself thinking about my own mortality, my grave, and the idea that I might never escape this mysterious light.
When I jumped, the light jumped with me.
When I ran, it ran alongside me.
It felt as though the light was inside me, accompanying me on my journey.
For a few minutes, I found myself playing with the light, moving with it, feeling its strange presence in a way that was both captivating and unsettling.
For what felt like more than ten minutes, I remained inside the glow, unsure of what was happening. But just as suddenly as it had appeared, the light began to fade. As we approached the location of the musical gathering, the light disappeared completely, leaving no trace behind. I stood still for a moment, trying to process what I had just experienced.
The shape of the light was unlike anything I had ever seen before. It was round at the top, like an arch or the rounded top of a double door. The glow it cast was soft and ethereal, almost otherworldly. It was a sight that left a deep impression, one that I would carry with me for years to come.
I had no logical explanation for what had happened that night. Was it a trick of the mind? A fleeting illusion? Or was it something beyond our understanding—something that can’t be explained by human logic or reason? As much as I tried to rationalise it, I couldn’t shake the feeling that I had encountered something far greater than myself—an otherworldly presence that had chosen to reveal itself, if only for a brief moment.
One thing became clear: the memory of that moonlit night and the strange light that moved with me would forever remain a part of my story. It was an encounter with the unknown—something that couldn’t be explained but which left me with a sense of wonder, awe, and even fear.
In 1995, I was approached by Korak Ghosh, representing a multicultural art consortium, to record one of the tracks for a compilation album. This marked my first experience writing lyrics and composing music. The track, titled Kemon Korey Bolo Na-na-na-na, was recorded in 1996.
In 1997, I wrote and composed Ami Shodu Bolichi Tumeri, which was also recorded in the same year. Additionally, in 1998, I created a seven-beat composition inspired by the birth of Rumi's congregation.
The album This Being Human features music composed and performed by Paul Cheneour (flautist), George Hadjineophytou (Oud/SAS), myself (Tabla), and Olly Branchflower (double bass). The project also incorporates the poems and stories of Rumi, the 13th-century Sufi poet, accompanied by spontaneous music and the voices of two storytellers: Ashley Ramsden and Duncan Mackintosh. This project was awarded an A4E (Arts Council of England) grant.
Jalal ad-Din Muhammad Balkhi (Persian), better known as Jalal ad-Din Muhammad Rumi (Persian), or simply Rumi in the English-speaking world, was the spiritual and literary luminary behind this collaboration.
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The song Nishiraat was composed in 1998 and recorded in 2001 for the fusion album Night in Bengal. During this period, I was teaching music at Swanlea Secondary School in London. In the summer of the Swansea school holidays, I travelled to Bangladesh.
Between July 21 and September 2000, I was involved in a road traffic accident on the Kaspur Bridge on my way to Dhaka. The accident left me completely blind and hospitalised for approximately three months. Gradually, I regained my sight—a process that felt like a personal renaissance. This recovery fuelled my dedication to Sufi Baul Fusion Music.
The song Nishiraat and the title track Night in Bengal (Dim-ta-nana Nana) are both inspired by the theme of extraterrestrial light, a concept I began exploring in 1993. The songs Nishiraath and Dim-ta-nana Nana, composed in the Raga Malkauns scale, feature lyrics and a musical theme inspired by the extraterrestrial light I encountered, which kept me inside its centre in 1993.The primary aim of this project is to promote Sufi Baul Fusion Music in London, with a secondary focus on raising awareness across Europe and America. The genre is currently underrepresented in the UK, with very few organisations offering similar services. Sufi Baul Fusion Music thrives in Bangladesh and Calcutta, and my goal is to bring greater visibility and encourage participation within the UK community.
As rhythm is the silent pulse of the universe, it serves as the unseen thread that weaves all souls into a cosmic dance. From the beating heart to the celestial movements of stars, everything vibrates with a piece of hidden music. We are not mere listeners; we are instruments, resonating with the echoes of eternity.
When the hands strike the Tabla, when the breath flows through the flute, when the heart surrenders to the divine, we transcend time, space, and the ego.
In that moment, there is no separation—no East, no West, no “you” or “me.” There is
only the eternal song of existence, whispering the secret of unity: one world, one
man, one music, one God.
My understanding of this genre is deeply rooted in the work I have previously undertaken, which includes the following:
(02) Composed music and acted in the short film Bangla Lane, produced and directed by Anam Hoque in 1995.
(03) Acted in a BBC production, Royal Navy recruitment advert in 2004.
(06) Night in Bengal, a fusion-based album, features music written, composed, and produced by me. The title track, Night in Bengal, exemplifies universal and egalitarian music, eclectically mixing Western instruments, and was released in 2002. This album marked the first Bengali fusion music album to be created in London, a city renowned for its cultural diversity. Special thanks to my family, especially my nieces and nephews—Mohima Kamaly, Naheema Kamaly, and Abthahee Kamaly—for their significant contributions to this project, as well as my entire family. The vibrant multicultural environment of East London was a great inspiration for this album.
(08) Performed music on Channel 5 during the launch of Mr. Q’s novel *Dead Meat* and appeared on satellite TV.
(10) Performed solo tabla at the Boishakhi Mêla in 1997 for Pohela Baishakh. My performance was coordinated by Shadhin Khasru, the coordinator of the Kobi Nazrul Centre, who is now active in the Bangladeshi film and drama industry. The first Boishakhi Mela was held in front of Pauline House on Hanbury Street, London E1, in July 1984. The chief guest was Bangladeshi film actress Kabori Sarwar, who received the National Award for her role in the film Sareng Bou (The Captain’s Wife). Kabori was elected as a Member of Parliament in Bangladesh in December 2008 and was a prominent figure during the 1971 Bangladesh Liberation War.
(12) This Being Human album features music composed and performed by Paul Cheneour (flautist), George Hadjineophytou (Oud/SAS), myself (Tabla), and Olly Branchflower (double bass). The album incorporates the poems and stories of Rumi, the 13th-century Sufi poet, accompanied by spontaneous music and the voices of two storytellers, Ashley Ramsden and Duncan Mackintosh. This project was awarded an A4E (Arts Council of England) grant. Jalal ad-Din Muhammad Balkhi, also known as Rumi and revered as Hazrat Mawlana Jalal ad-Din Muhammad Rumi (RA), was a descendant of Hazrat Abu Bakr (Radi Allahu Anhu). His father, Bahā ud-Dīn Walad, was a theologian, jurist, and mystic from Balkh, recognised by Rumi's followers as Sultan al-Ulama ("Sultan of the Scholars").(15) Harbinger Primary School, 1995-1996
(16) Central Foundation Girls’ School, 1995-1996
(17) Composer at the London International Festival of Theatre (LIFT), London, 1995-1996. LIFT, founded by Rose Fenton and Lucy Neal in 1981, is an annual arts festival showcasing international theatre. In 2003, Angharad Wynne-Jones succeeded as the festival's leader, later followed by Mark Ball as Artistic Director in 2009.
(18) To celebrate the 50th anniversary of India’s independence, I taught music and drama to students, overseeing all background music for songs and drama scenes within the production. LIFT’s agenda has been to expose British theatregoers to more international theatre, with 35,000 people attending the inaugural festival. By 1993, the festival had expanded to 235 performances by 200 artists, attracting an audience of 92,500.
(19) Composed music for the production The Seed, The Root, in collaboration with Akram Khan MBE. Khan, a highly awarded dancer and choreographer, received an Honorary Doctor of Arts in 2004 for his contributions to the UK arts community. Motiroti, a London-based arts organisation, was co-founded by Ali Zaidi and Keith Khan in 1996. Zaidi continued as the Artistic Director after Khan's departure in 2004 to lead the Rich Mix Cultural Foundation.(20) 1997-1998: Worked with Wave Dancing Company alongside Dr. Mukid Chowdhury.
(21) Tales of the Flute Would Tell (1999): Music composed by Paul Cheneour and me, with camera work by Arun Halder. The production was created by Redgoldmusic, with post-production by Paul Cheneour and Eric Massey. http://www.youtube.com/watch?v=bPbZgfWb-XY
(22) Participated in international tours to Istanbul, Calcutta, Dhaka, Sylhet, and Mumbai.
(23) While I have extensive experience in playing and composing Indian music, I also possess a deep knowledge of various musical genres and their cultural contexts.
(24) I play several instruments, including the Tabla, Dhol, Dufkey, Keyboard, Ek-Tara, Tanpura, Manjira, and Harmonium.
(25) Basic knowledge of PA systems and mixing consoles.
(26) Composer at Arakana Studio, London, 2008-2009. I created original songs alongside a small production team and promoted the work on MySpace.
(27) 1977-1980: Completed my secondary education at Robert Montefiore Secondary School in East London.
Beyond his musical expertise, he was an extraordinary individual—an actor, journalist, and the first Press Secretary to the Father of the Nation, Bangabandhu Sheikh Mujibur Rahman, the visionary founding leader of Bangladesh.
During this time, I also encountered Sayed Ashraful Islam, a dedicated youth worker and local government officer serving under the Inner London Education Authority (ILEA). He later became the director of the Centre and emerged as a prominent community leader. Through his unwavering efforts, I became actively involved in uniting the Bengali community in East London against racial attacks.
Additionally, I had the honour of meeting Shahab Uddin Belal Ahmed, a passionate cultural activist and journalist who played a pivotal role in establishing a newsletter to raise awareness about racism within the East London Bengali community. His relentless commitment to social justice made him a formidable anti-racist campaigner. He was also the elder son of Syed Nazrul Islam, a key leader of the Bangladesh Liberation War and a foundational figure in the formation of Bangladesh.
On May 4th, 1978, Altab Ali, a 25-year-old textile worker, was tragically murdered and robbed by three youths near the corner of Adler Street, at the edge of St. Mary's Park off Whitechapel Road. Altab Ali attempted to call an ambulance from the telephone booth at the corner of Whitechapel High Street and White Church Lane, near St. Mary's Park, but collapsed before help could arrive. His death sparked the largest Bengali demonstration ever seen in East London, with friends, family, and the Royal Bengal youths in attendance.
(29) From 1978 to 1980, I was the captain of the Royal Bengal football team. In 1980, we played against a Pakistani team in Birmingham, arranged by Mr. John Newbegin, who is currently the chair of the 24-Hour Museum, alongside his colleague and late friend, Caroline Adams, an author and cultural activist. Under their guidance, we won the match 2-1. The team’s manager was Amalendu Chakraborty, and the players at that time included Sundor Miah, Yeor Ali, Muhib Rahman, Ana Miah (1), Ana Miah (2), Abdul Shubahan, Debu Chakraborty, Abdul Kadir (1), Abdul Kadir (2), and many others from 1978 to 1980.
(30) Between 1982 and 1985, I joined an organisation called the Overseas Youth Organisation (OYO), where Amalendu Chakraborty once again served as manager, and I was the captain. Other members included Aroj Ali, Motin Bhai, Islam Bhai, Hussain Bhai, Turon Miah, Sunahwar Ali, and many of our Royal Bengal team members.
(31) In 1985-1986, we formed a team called Aldgate United and rented the course from the local professional league, which cost us twenty-six pounds per hour for two hours of practice every Sunday at Weaver Field, Bethnal Green Road.
(32) From 1986 to the early 1990s, we joined a local organisation called Weaver Youth Forum (WYF), where the whole team formed a new group. I was appointed captain and later became the executive member and Vice-Chairman of the organisation. I worked alongside Abdul Mukit Chunu MBE and many others.
(33) In 1978, I became a founding member of the Spitalfields Housing Association, which was originally set up as a Co-operative by local activist Fakaruddin Ahmed, with support from the local Bengali community and villagers from Tower Hamlets. My cousin Yousuf paid my membership fee, and he later became the secretary of the association and eventually the chairman.
(34) In 1982, I was a founding member of the Bengali Arts Centre at 30 Hanbury Street, E1, named the Kobi Nazrul Centre, after the national poet of Bangladesh, Kazi Nazrul Islam, who was known for his rebellious spirit. The centre was opened by Lord Fenner Brockway.
(35) In 1981-1983, I worked my first job at a clothing factory as an apprentice under the famous promoter Aroj Ali’s management while also studying music with various artists from Bangladesh.
(37) From 1986 to 1994, I received Tabla training from the Benares Gharana (School) in London, taught by Deboo Chowdhury, a maestro trained under Pandit Radhakanta Nandi.(39) In 2010, I completed business training at the East London Small Business Centre.
http://www.towerhamlets.gov.uk/content_pages/a_to_z/a_to_z_pages/e/east_london_small_business_cen.aspx
(39) In 2010, I completed business training at the East London Small Business Centre.
(40) In 2011, I worked for the KOTO RONGO Theatre and Zen Bicycle, collaborating alongside maestros Paul Cheneour and Sufi Baul of Fusion music.
(41) In 2012, I taught Tabla and composed music for the Sufi Baul Fusion music album.
(42) In 2013, I produced a single by Menon Rahmanin in video format,, with Yoshisuke Suga, under Earthy Music.
The track list includes:
1. Flames Of Love
2. Ahu (Animating Spirit)
3. Softly as the Morning Dew
4. Unity
5. Arriving Leaving
6. After Words
7. Window of the Soul
8. Longings
The album is available for streaming on platforms like Spotify and Apple Music and can also be purchased through Amazon.
(44) In 2013, I also worked on Heart of Gold, another instrumental composition based on Sufi
Baul Fusion, Paul Cheneour and myself.The album incorporates ambient studio drones as a subtle tonal foundation, supporting the modal and harmonic shifts throughout the pieces. This backdrop enhances the interplay between Cheneour’s expressive flute melodies and Meah’s inventive tabla rhythms.
Cheneour’s approach emphasises spontaneity, aiming for authenticity in each performance. Meah complements this with his dynamic tabla playing, sometimes driving the music forward, other times providing space, resulting in a harmonious collaboration.
1. Heart of Gold
2. The Great Turning
3. Dervish Antics
4. Matzoobs
5. Open Window
6. Untie the Knots
7. Fragrant Passion
8. Surrender
9. Half Light
(46) In 2014, I began work on a brand-new fusion album that features one of the oldest songs from Bengal alongside several new tracks inspired by the history of Sufi saints, particularly Hazrat Shah Jalal (RA) of Sylhet. One of the key songs is based on an ancient Bengali composition from the late medieval period, which chronicles the annals of Sultan Ala-uddin Husain Shah and his general, Paragal Khan, marking the golden age of Hussain Shah.
According to the Rajmala, the chronicle of Tripura, Hussain Shah's four successive invasions of Tripura did not fully achieve their intended objectives. The first expedition was a complete failure. The second invasion saw the conquest of Comilla, after which Hussain Shah's army proceeded into Tripura. However, the invading force was destroyed while attempting to cross the Gomati River through a clever stratagem devised by the Tripura general, Rai Chai Chan. He had dammed the river upstream, effectively blocking the flow of water to the lower reaches. When the invaders, deceived by the dry riverbed, attempted to cross it on foot, Rai Chai Chan ordered the dyke to be cut. As a result, the invaders, along with their horses and weapons, were swept away by a powerful flood of water.
Though the second invasion ended in failure, there is an indication of some measure of success. The Sonargaon inscription of 1513, which mentions Khawas Khan as Sar-i-Lashkar (commander of forces) in Tripura, might suggest some limited success for Hussain Shah's forces. Furthermore, the Rajmala also recounts numerous instances where the Tripura forces cleverly outwitted and discomfited the invaders.
The third expedition, like the others, ultimately failed. The final, fourth expedition culminated in a limited success when Hussain Shah's forces defeated the Tripura forces at Kali Fort, led by Dhanya Manikya. Despite this victory, Hussain Shah's control remained limited to the approach to Chittagong, and he did not succeed in his overall aim of conquering Tripura. Some passages in the Sonargaon inscription suggest that Hussain Shah may have attempted to annexe parts of Tripura, but the campaign ultimately did not yield the desired results. The involvement of the Kingdom of Arakan in aiding Tripura during the closing phases of the war inevitably led to conflict between Bengal and Arakan.
In the early stages, the Arakanese had occupied Chittagong. In 1513, the Bengal army, led by Paragal Khan, advanced along the Feni River in an attempt to dislodge the Arakanese forces. However, this campaign proved to be protracted, continuing even after Paragal Khan’s death, under the leadership of his son, Chhutti Khan. Chhutti Khan finally succeeded in capturing Chittagong and driving out the Arakanese around 1516. According to Barrows, a contemporary Portuguese writer, Arakan briefly became a vassal kingdom of Bengal, though this arrangement lasted only for a short period.
Hussain Shah's reign, which marked a glorious era in Bengal’s history, came to a close shortly after the reconquest of Chittagong around 1519. Hussain Shah had restored peace to the kingdom after years of lawlessness and consolidated Bengal’s traditional borders, even extending them in several directions. His reign was characterised by almost continuous warfare with neighbouring kingdoms, though these conflicts were mostly fought beyond Bengal’s frontiers, leaving the internal conditions of the kingdom relatively peaceful.
Hussain Shah is also remembered for his policy of religious tolerance. He treated both his Muslim and Hindu subjects equally, striving, much like Emperor Akbar, to create a national monarchy to which all sections of the population showed loyalty. Many Hindus, such as Roop and Sanatan, who became disciples of Chaitanya, were appointed to high offices, including the position of Wazir. The loyalty of Hindus to Hussain Shah is further exemplified by a Vaishnava poet's portrayal of him as an incarnation of Lord Krishna.
While some historians have attempted to downplay the secular nature of Hussain Shah’s administration by emphasising his destruction of Orissa, it is essential to recognise that such acts were a common practice among medieval generals during their invasions. Hussain Shah’s personal involvement in the destruction of Orissa has been overstated. It was during his reign that the great saint Chaitanya propagated Vaishnavism, sparking a bhakti movement in Bengal that attracted followers from diverse backgrounds, including Muslims.
This period also marked the first great age of Bengali literature. The fact that many poets and scholars produced important works in Bengali during Hussain Shah’s reign, as well as that of his son, Nusrat Shah, clearly indicates that the state actively supported and encouraged such intellectual and cultural pursuits. While a few qazis objected to practices like sankirtan (public chanting) and idol processions by Hindus, the government, in general, did not impose restrictions on these activities in places like Nabadwip and other towns. In fact, some Muslim officials even participated in and patronised sankirtans.
Above all, the Vaishnava literature of the time contains many laudatory references to Hussain Shah. Taken together, these factors reveal that Hussain Shah's reign marked a golden age for Bengal, one of the first such periods after Bengal, as a distinct cultural and political entity, had emerged in history—severed from its earlier identity as ‘Gaur’ and with a clear cultural, racial, and linguistic identity for the Bengali people. The following verse from Parameshwar’s Mahabharata serves as a testament to the contemporary Hindu view of Hussain Shah:
Nripati Hussain Shah hai mahamati
Pancham Gaurete jar parama sukhyati
Ashtra shastre supandit mahima apar
Kalikale habu jeno Krishna avatar
Nripati Hussain Shah Gaurer Ishwar
Tar hok senapati Hasanta Laskar
LaskarParagal Khan mahamati
Suvarna basan paila ashwa bayugati
Laskari bishaya pai aibanta chalia
Chatigrame chali gela harashita baiya
Putra pautre rajya kare Khan mahamati
Puran shunante niti harashita mati
(King Hussain Shah is of a noble mind,
His great fame spread throughout Gaur.
Well-versed in weaponry, his achievements are infinite.
He is the incarnation of Krishna in the Kali Yuga.
King Hussain is the lord of Gaur.
His commander, Hasant Lashkar Paragal Khan, is of a great mind,
He has been gifted a golden dress, and his horse moves with the speed of the wind.
Lashkar, having recovered his possession, moved on and arrived at Chittagong in a cheerful mood.
The great Khan ruled the kingdom with his sons and grandsons,
Listening gladly to the Puranas.)
Sufi Baul Fusion Music Academy of London: Proposal
The mission of Sufi Baul Fusion Music is to provide tuition, support, and guidance to music, drama, and digital video filmmaking projects within local communities. We aim to offer accessible and enriching educational opportunities through workshop sessions that range from small group classes to personalised one-on-one teaching. Our course subjects will cover a broad range of creative disciplines, including:
Music Theory
Sound Engineering
Pro Tools
Songwriting
Computer Technology
Website Construction
Script Writing
Acting
Digital Video Filmmaking
Directing
Editing
Dancing
In addition to the above, we will offer specialised instrument courses, covering a variety of traditional and contemporary instruments, including:
Bass
Guitar
Flute
Saxophone
Violin
Sitar
Keyboard
Piano
Tabla
Duttara
Ek-Tara
Dhol
Harmonium
The Sufi Baul Fusion Music Academy will focus on promoting the fusion of South Asian musical traditions with contemporary Western genres such as Reggae, Rock, Hip-Hop, Rap, R&B, Dub, Ballad, Jazz, Classical, and more. This approach will provide a unique and vibrant platform for students to explore new, diverse musical forms while respecting the cultural roots of each tradition.
At present, few institutions are offering a curriculum that combines both music and film technology with the opportunity for students to create their own music/film products. Sufi Baul Fusion Music aims to address this gap by offering a one-of-a-kind curriculum that incorporates the fusion of Eastern and Western musical traditions, along with a focus on film and digital media production.
Proposal for Social Business Partnerships
We invite potential non-profit social business partners to collaborate with us in setting up the Sufi Baul Fusion Music Academy in the multicultural city of London. If the project generates profit, it will be directed toward selected charities, with a special focus on supporting orphanages.
We strongly believe that this initiative can have a profound impact on the creative and social fabric of the community, providing a platform for artistic expression while also giving back to those in need.
For Further Information
Please feel free to contact Dilly Meah via email at dillymeah1@gmail.com for more details or to discuss partnership opportunities.
The concept of "Making of Music" was developed by me, with support from renowned maestros, musicologists, musicians, friends, music lovers, appreciators, entrepreneurs, and my family. We come from different musical traditions and cultures, and it is these diverse backgrounds that form the core of the "fusion" concept. Fusion music is one of the most exciting and vibrant forms of contemporary musical expression today. It’s about synthesising not just different traditions but also different genres of music.
While fusion music is primarily seen as the blending of East and West, there is also a rich, ongoing exchange of ideas happening within the East itself—an East-East fusion that is equally fascinating. In our increasingly interdependent and globalised world, music, with its universal and egalitarian language, can play a crucial role in fostering togetherness. It helps break down the artificial barriers that keep humanity fragmented, encouraging a unity that transcends borders.
As the world becomes more interconnected, the diverse elements of music are also coming together. This process of musical fusion can act as a metaphor for the uniting of cultures and humanity as a whole.
Currently, we are working with some North Indian scale notations, particularly from the North Indian Raga Darbari, which have been inherited from Turkish, Arabian, African, and Persian traditions. Some drum grooves are borrowed from modern dance music, creating an exciting cross-cultural dialogue.
Flutes are played by Paul Cheneour, a maestro I was introduced to by filmmaker Anam Hoque back in 1997. Our musical relationship began then, and together we have recorded two albums: This Being Human and Dance in the Fire, along with some recordings for other albums. We still play Sufi music together to this day.
The guitar and chorus singing on the track are by Margo Sagov, a gifted musician and singer whom I met at a Baul film show organised by Valentine Harding on Commercial Road. This meeting uncovered Margo’s incredible talent, leading to the creation of this arrangement for the recording.
For this project, we used equipment including an MBox 2, Pro Tools, a MIDI keyboard, a Yoga condenser microphone, Genelec monitors, and a Macintosh computer.
Musician & Composer: March 2012
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