Dilly Meah Autobiography

The Making of a Legacy: A Journey Through Music, Activism, and Community in East London

 

The air inside Premises Recording Studio at 205-209 Hackney Road was electric with anticipation. It wasn’t just another recording session; it was a defining moment—one that would weave together culture, history, and resilience into a singular, powerful sound. This was the first recording of the Jalali Band, guided by our beloved teacher, Khandkar Emdadul Hoque Manna. Under the dim studio lights, amidst the hum of instruments being tuned and the murmur of last-minute adjustments, we weren’t just laying down music—we were documenting a movement.

This session was more than a technical process; it was an act of preservation, an assertion of identity. The studio, a space where countless artists had crafted their legacies, now bore witness to our own. This was where our journey—one intertwined with music, activism, and community—would be etched into history.

 

The Faces Behind the Sound

 

In one of the first photographs from that day, I stand on the left, next to Manna Sir, who occupies the centre—a pillar of wisdom and musical brilliance. On his right is Abdul Rob, a fellow musician whose dedication mirrored our mentor’s unwavering commitment to the next generation.

 

Another image captures another trio: Manna Sir once again at the centre, with me to his left and Mennon Rahman to his right. We were more than just musicians; we were storytellers, conduits of a rich cultural heritage carried across oceans.

 

One particularly cherished photograph features Arun Haldar, the talented filmmaker who documented this pivotal moment. He stands beside Manna Sir, with me on the other side, as the engineer works tirelessly at the mixing console. The studio buzzed with creativity; each dial turned a step closer to realising our dream. This wasn’t just about producing music—it was about carving out a space for our identity in a world that often sought to erase it.

Further images reveal the broader team that made it all possible: Mohammad Ali, donning a red cap, with the sound engineer, both deep in concentration. Below, a group photo captures Manna Sir, Mohammad, Suja, and me—surrounded by others whose names may have faded but whose contributions remain invaluable.

 

The Minibus That Carried a Movement

 

Beyond the recording studio, our work extended into the very heart of East London’s Bengali community. A photograph from the 1980s captures a red minibus—a vehicle provided by Tower Hamlets Council to local youth organisations. This particular bus belonged to the Weaver Youth Forum (WYF), operating from 232 Brick Lane.

The image captures me standing on the ladder at the rear of the minibus, casually resting my elbow on the roof while holding the railing. Seated atop the vehicle, to the right of the photograph, are Ahmed Ali, accompanied by Amir Ali and Forus Miah, while Faruk Miah stands firmly on the ground below, leaning against the bus. Inside, most likely, are Sirajul Islam (Siraj), the chairman of the organisation, along with Abdul Rouf and Kason Ali—integral members of our group—along with possibly many more members of the Weaver Youth Forum. At that time, I held the esteemed positions of Vice Chairman of the WYF and Captain of its football team, skilfully balancing my passions for music, leadership, and community service.

This wasn’t just a means of transportation—it was a symbol of opportunity. It ferried young people to football matches, community events, and cultural gatherings, bridging the gap between our past and our future.

 

The Warriors of East London’s Struggle

 

The late 1970s and 1980s were a defining period for the Bengali community in East London. Racism, economic hardship, and housing discrimination were everyday realities, but so too was the fierce resilience of those who fought back. Two such figures stand out:

 

Caroline Adams: The Guardian of Bengali Youth

 

A renowned youth worker, Caroline Adams, dedicated her life to supporting the Bengali youth of Spitalfields and Brick Lane. Through her work with the Inner London Education Authority (ILEA), she played a crucial role in bridging the gap between immigrant families and British society, advocating for education and youth welfare.

John Newbigin: A Cultural Warrior

 

John Newbigin, OBE, was more than just a youth worker—he was an architect of change. Through Avenues Unlimited, he fought against racism, empowering marginalised communities to reclaim their place in British society. His work in the 1970s and 80s provided the Bengali community with much-needed resources, helping them navigate the complex landscape of integration while preserving their heritage.

 

I first met Caroline Adams and John Newbigin in 1978. Their passion for justice was infectious, and through them, I gained an unshakable belief in the power of collective action. Their stories became a part of my own, shaping the way I understood music—not just as an art form but as a tool for resistance and unity.

A Meeting of History and Music

 

My journey led me to the Montefiore Centre, where I had the honour of meeting Syed Ashraful Islam, the eldest son of Syed Nazrul Islam, the first Acting President of Bangladesh. Through him, I connected with Khondker Aminul Haq Badsha, a key figure in Bangabandhu Sheikh Mujibur Rahman’s administration.

 

The Montefiore Centre was more than just a community hub—it was a melting pot of ideas, activism, and cultural preservation. Here, educators, filmmakers, and activists came together, striving to create a better future for East London’s Bengali community. Their work laid the foundation for programs focusing on education, housing, and cultural identity—initiatives that continue to shape lives today.

Building a Home, Brick by Brick

One of the most transformative movements of this era was the establishment of the Spitalfields Housing Association (SHA), formerly known as the Co-operative.

Founded in 1978 and officially registered in 1979, SHA emerged as a vital response to the housing crisis faced by the Bengali community in East London. At a time when landlords openly discriminated against immigrant families, SHA championed fair housing rights, striving to ensure that every individual had access to a safe and secure home.

A pivotal figure in this movement was Fakruddin Ahmed, a tireless advocate for social justice. Alongside leaders such as Yousuf Ali—my maternal cousin and SHA’s long-serving Secretary for nearly three decades, later Treasurer, and ultimately Chairman—he played a crucial role in securing affordable housing and essential community support services for those who had been systematically marginalised.

SHA acquired its first properties on Princelet Street and Hanbury Street, marking the beginning of its transformative journey. Over time, it grew to become the foremost housing association in the United Kingdom, setting a benchmark for social housing and community empowerment. 

Through SHA, I secured a flat on Princelet Street, a place that soon became a sanctuary for music. It was here that the Jalali Band’s practice sessions became a regular occurrence, with Manna Sir guiding us through melodies that carried the weight of generations.

The Legacy Lives On

 

Our first recording at Premises Recording Studio wasn’t just about preserving tradition—it was about honouring the struggle, celebrating the triumphs, and forging a path forward. It was a tribute to those who had fought before us and a promise to those who would come after.

Looking back, I see a journey woven together by music, activism, and an unbreakable sense of community. Every note we played carried the echoes of the past, the hopes of the present, and the dreams of the future.

 

This story isn’t just mine—it belongs to everyone who fought, sacrificed, and believed in something greater. It is a reminder that music is more than just sound; it is history, resistance, and legacy—one note, one story, and one community at a time.

Robert Montefiore Secondary School. 
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