Dilly's works

(01) Composed music for the award-winning short film Brick Lane (Movie Zone awards) directed by Paul Makkar and produced by Sonia Makkar in 2002-2003 Working alongside Dominik Scherrer Composer | Sound Department | Director | Music Department | Editor | Soundtrack | Writer Composer (54 titles TV series

http://film.britishcouncil.org/brick-lane                                    http://www.youtube.com/watch?v=UeVBLNVD3l0      

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(02) Composed music as well as acting for the short film BANGLA LANE produced & directed by Anam Hoque in 1995.

(03) Acting on BBC production, Royal Navy recruitment advert in 2004.

(04) Scored some part of music in addition to performing the act, On the East Side directed by Charlie Sen & produced by Betar Bangla (1503am radio), http://e-vibe.net/play/uk/340.htm

(05) Principal Cast of Location Of Hason Raja Sunamganj Bangladesh in 2002 by Ruhul Amin (film director) Ruhul is one of the most prolific Asian filmmakers in Britain. He has made 13 films for the BBC and Channel 4. Most of them are documentaries and experimental dramas. He is currently making an epic Bengali film on the life of a rural Bengali folk poet who was born in 1854-1922 AD. http://www.youtube.com/watch?v=MfI0vDNTiwI

(06) Night in Bengal fusion-based album most of the songs were written, composed by myself also produced and released by me as well. Especially the title track namely Night in Bengal which is an example of universal as well as egalitarian music eclectically mixed with Western instrumentals which was released in 2002 by Dilly Meah.


Picture of Night in Bengal launching party at Brady Arts and Community Centre
in 2002, Hanbury Street E1. My special thanks to Mr Jerry Deeks manager at the Brady Community Arts Centre, for his generosity in giving me space in kind for practising, teaching and creating my fusion base album; Night in Bengal at the Brady Centre. Some of the guest names had been mentioned such as Ali Mehdi Zaidi, director of Motiroti Theatre. 

Shakeel Mohammed, sound engineer at On the One Community Music Studio at St. Georges Town Hall, 236 Cable Street, London. GM Najim Chowdhury CEO of Betar Bangla Radio 1503AM. Shamim Azad poet. The legendary singer of Bangladesh Abdul Jabbar Bangabandhu Padak 1973. Ekushey Padak 1980. Shadhinota Padak 1996. Citycell-Channel I Music Awards-Lifetime Achievement Award 2011. My mentor
as well as my maestro Kondukar Emdadul Hoque Manna. Professor Syed Shariful Islam is the younger son of the national leader Syed Nazrul Islam and also the youngest brother of Syed Ashraful Islam LGRD minister of the Bangladesh government. He's currently the head professor at the public health department of PG Hospital nowadays called Bangabandhu Sheikh Mujib Medical University in Dhaka Bangladesh. Professor Islam, Dean of the Faculty of Medicine at BSMMU of Public Health and Informatics.

Flat 8, Basil House, Henriques Street, London, E1

was a resident home of Professor Islam where I had spent over a decade practising Tabla as well as learning many things about literature and history also exchanging ideas with him. Betar Bangla Community Radio 1503 AM started from this house and he was a director. Privilege to become an acquaintance with his elder brother Professor Syed Manzural Islam a novelist Creator of the first literary map for Brick Lane and literature at the University of Gloucestershire. Dr Moniruz Zaman Monir working at the social service of Tower Hamlets. Cllr Doros Ullah. Bishwo Shahitto Kendro, London. Mozibul Hoque Moni Actor & writer. Doctor Hemel Muksed is better known, as Farhan Muksed Hemel and his sister the secondary school teacher and many more community friends. http://en.wikipedia.org/wiki/Syed_Nazrul_Islam

(07) Sound Radio 1503am, London 2005-2007 Head of Music Creating jingles for the station as well as selecting playlists and discovering new acts to play Organising a recital for Indian Raga based Music at Queen Mary Hall featuring artists such as Asif and Kaniz Shuborna.
http://www.betarbangla.org.uk/about_us_2.html

(08) I performed music on Channel 5 at the launch of Mr Q’s novel ‘Dead Meat’. I have also been featured on satellite TV.

(09) Lewisham Academy of Music teaching fusion music plus performed on stage 97-

(10) Performed solo Tabla at the Boishakhi Mêla in 1997 Bengali: Pohela Baishakh my slot was arranged by the coordinator of Kobi Nazrul centre Shadhin Khasru. He's working in the Bangladeshi film & drama industry now. First Boishakhi Mela was in front of Pauline House Hanbury Street London E1 in July 1984 where Bangladeshi film actress Kabori Sarwar was the chief guest. She received the National Award for her performance in the movie Sareng Bou (The Captain's Wife). Kabori was elected to the National Parliament in Bangladesh serving as an MP representing Narayanganj District no. 4. She was elected to her post on 29th December 2008 from Awami League. She was an active participant in the Bangladesh Liberation War in 1971 in India. She is also the first woman broadcast by India Radio during the liberation war.
http://en.wikipedia.org/wiki/Lewisham_Academy_of_Music

(11) 1997 Dance in the Fire 
http://www.amazon.co.uk/Dance-Fire-Paul-Cheneour-Dilly/dp/B004SGTX1E/ref=sr_1_4?s=music&ie=UTF8&qid=1338397307&sr=1-4ambient audio album composed by Paul Cheneour and myself produced and marketing by http://www.redgoldmusic.com/ http://www.justflutes.com/dance-fire-product959339.html

(12) Album This Being Human. Music composed and played by Paul Cheneour
flautist. George Hadjineophytou
OUD/SAS. Myself on the Tabla. Olly Blanchflower Double Bass. The poems and stories of Rumi, the 13th-century Sufi poet, with spontaneous music and 2 storytellers. Ashley Ramsden & Duncan Mackintosh, VOICES. The project was awarded an A4E (Arts Council of England) grant. Jalal ad-Din Muhammad Balkhi-Rumi (Persian) also known as Jalal ad-Din Muhammad Rumi (Persian), and popularly known as Mowlana Jalal ad-Din Muhammad Rumi (Persia) but known to the English-speaking world simply as Rumi. 
Rumi: Journeys into the Music and Silence of the Heart.
http://en.wikipedia.org/wiki/Rumi http://www.justflutes.com/being-human-product959322.html

(13) All roles were organised through the London International Festival of Theatre (or LIFT) and were short-term contracts of between 12 to 18 months. Teaching music and composition in a classroom setting for groups of around twenty students. Encouraging students to recite the music and hearing by the ears to understand changes in notes and chords.

(14) Thomas Buxton Primary School 96-97

http://www.itowerhamlets.co.uk/profile/schools-local-authority/43753/Thomas-Buxton-Junior-School.html

(15) Harbinger Primary School 95-96
http://www.harbingerschool.co.uk/

(16) Central Foundation Girls' School 95-96
http://en.wikipedia.org/wiki/Central_Foundation_Girls'_School                       

(17) London International Festival of Theatre, London 1995-1996 Composer The London International Festival of Theatre (or LIFT) is a London, UK, arts festival which was co-founded by Rose Fenton and Lucy Neal. It has been presented since 1981. In 2003, they passed the leadership of the festival to Angharad Wynne-Jones.[2] In 2008 Angharad stepped down. Mark Ball was appointed Artistic Director in 2009.
http://en.wikipedia.org/wiki/London_International_Festival_of_Theatre

(18) To celebrate the 50th Anniversary of India, Teach students music and drama to Perform on stage. Responsible for all the background music for songs and drama scenes within the production. The festival's agenda has been to expose British theatregoers to more international theatre than typically has been presented in London. In its first year, 35,000 people attended. In 1993, with 235 performances by 200 artists including The Wooster Group and Peking Opera, the attendance was recorded as 92,500. http://www.towerhamletsarts.org.uk/?cat=29&cid=29276&guide=Organisations 1995

(19) Working as a composer for the production of ‘ The Seed,
The Root’ alongside Akram Khan MBE Khan has been the
recipient of numerous awards: 2004: Akram Khan received
an Honorary Doctorate of Arts from De Montfort University
for his contribution to the UK arts community.

http://en.wikipedia.org/wiki/Akram_Khan_(dancer)

Motiroti is a London-based arts organisation led by Artistic Director Ali Zaidi. For over ten years the company has made internationally acclaimed and award-winning art that transforms relationships between people, communities and spaces. Co-founded by artists Ali Zaidi and Keith Khan Motiroti was officially registered as a charity in 1996, although the pair had worked together since the late 1980s. Khan left the company in 2004 to become CEO of the Rich Mix Cultural Foundation[2] while Zaidi continues to be the Artistic Director. http://en.wikipedia.org/wiki/Motiroti

(20) 1997-1998 Wave Dancing Company alongside Doctorate Mukid Chowdhury

(21) Took part in international tours to Istanbul, Calcutta, Dhaka, Sylhet and also Mumbai.

(22) Tales of the Flute would tell 1999. Music composed by Paul Cheneour & myself, Camera by Arun Halder, Red Gold Music production, and post-production by Paul Cheneour & Eric Massey.

http://www.youtube.com/watch?v=bPbZgfWb-XY

(23) Although experienced in playing and composing Indian music, I have a good knowledge of all types of music and its background.

(24) Play Indian & other instruments: Tabla, Dhol, Khol, Dufkey also spelt Dupki, Keyboard, Ek-Tara, Tanpura, Manjira, and Harmonium.

(25) Basic Knowledge of PA systems and mixing consoles.

(26) Arakana Studio, London 2008-2009
Composer
Creating a song of original work alongside a small production team, promoted on MySpace

(27) 1977-1980 Secondary Education completed the third year at

Robert Montefiore Secondary School

in east London.

(28) 1978-1980 attending film workshops at Hanbury Street Montefiore Centre's top floor where I met Kondukar Aminul Haq Badsha Sitar practitioner trained under the late Ustad Khurshid Khan disciple as well as the maternal grandson of Ustad Allauddin Khan Sahib and freedom fighter, actor, journal as well as the 1st press secretary to the Father of the Nation Bangabandhu Sheikh Mujibur Rahman the founder father of Bangladesh.

I met a youth worker at the Montefiore Centre in Hanbury Street E1 5HZ Sayed Ashraful Islam later he was a director of the Centre and also was the community leader who lived in formerly Berner Street (presently Henriques Street) E1 where I was visited many times with Aroj Ali for the reason of uniting Bengalis' against racist attack in around the East London and also I met cultural activist and journal Shahab Uddin Belal Ahmed who was obsessed with cutting fonts and words from Bangladeshi Newspaper to create a Newsletter within the instruction of Sayed Islam with cut n paste then paste-up sheets into A4 size front as well as the back of the sheets and then photocopy with the help of photocopier machine, they managed to produce A4 size four-pages of Bengali Newsletters. Which is to bring awareness of racist attacks and news around East London within the Bengali Community also, he was a presenter who hosts most of the Bengali cultural shows around the UK. Once he asked me to buy some Kebab puris from the Sweet & Spice restaurant in Brick Lane. When I ask for money, he said you don't have money, why do you work, so I went and bought some kebab puris for them. Ahmed (Rajonuddin Jalal) an activist practising louder speech Mic there the apartment was full of anti-racist campaign boards and sleeping bags where many of his friends sleep at night. His background was a successful freedom fighter during the 1971 Bangladesh Liberation War. He is the elder son of Bangladesh's leading independence leader as well as an Advocate, professor and vice president. He was the former vice-chairman of BAKSAL. Syed Nazrul Islam- was killed in captivity in Old Dhaka Central Jail along sides with the National leader Tajuddin Ahmed- was a lawyer, politician and the first Prime Minister of Bangladesh. He was a former Finance Minister and a member of parliament. Muhammad Mansur Ali- was the Finance Minister of the Mujibnagar government. He was the Prime Minister of Bangladesh in the BAKSAL government. Abul Hasnat Muhammad Qamaruzzaman- was a member of parliament. He was elected President of the Awami League in 1974. He was the Minister of Relief and Rehabilitation in the Mujibnagar government. Syed Nazrul Islam– who was the acting President in 1971 of the government of Bangladesh and was the first Bangladeshi acting President to take an Oath of Office. Sayed Ashraful Islam currently serves as Awami League party general secretary as well as the LGRD Minister and later served as  (MOPA) in the government of Bangladesh. He died on 3^rd January 2019.

Racist murdered as well as robbed of twenty-five years old textile worker Altab Ali on the 4th of May 1978 stubbed by three youths near the corner of Adler Street end side of St Mary's park off Whitechapel Road. He tried to call an ambulance from the Whitechapel High Street telephone booth corner of St Mary's Park and White Church Lane where he collapsed. The biggest Bengali demonstration ever took place in East London which we Royal Bengal team youths, friends, and family attended. Nowadays the park is renamed Altab Ali Park. Originally it was called St. Mary's Park, St Mary Matfelon the site of a 14th Century white church called St Mary's from which the local area – Whitechapel – derives its name. It was an awoken-up call for Bengali lives in the UK and formed many organisations at that time. 

Remembering Altab Ali: A Symbol of Resilience in the Face of Racist Violence. On May 4th, 1978, tragedy struck when Altab Ali, a young Bangladeshi garment worker, fell victim to a brutal act of racist violence in London's East End. Robbed and killed by attackers motivated by hatred and bigotry, Altab Ali's senseless death sent shockwaves through the community and sparked a movement against racism that continues to resonate today.

 

Altab Ali was just 25 years old at the time of his murder, a hardworking immigrant striving to build a better life for himself and his family in the United Kingdom. His tragic death was not only a loss for his loved ones but a wake-up call for society to confront the pervasive racism and xenophobia that plagued immigrant communities.

 

The events leading to Altab Ali's murder were rooted in the rising tensions and hostility towards immigrants in the East End of London. In the 1970s, the area was grappling with economic hardship and social unrest, exacerbated by political rhetoric that scapegoated immigrants for the city's problems.

 

Altab Ali's murder, however, did not go unnoticed or unchallenged. His death galvanized the Bangladeshi community and their allies to take a stand against racism and demand justice for the senseless loss of life. The tragedy sparked a wave of activism and solidarity, with people from all walks of life coming together to denounce racism and support the victims of hate crimes.

 

One of the most enduring legacies of Altab Ali's murder is the annual Altab Ali Day, observed on May 4th to commemorate his life and legacy. Each year, people gather in Altab Ali Park in London's East End to pay tribute to his memory and renew their commitment to fighting racism and prejudice in all its forms.

 

The significance of Altab Ali's story extends far beyond the borders of London. His murder served as a catalyst for broader conversations about racism, immigration, and social justice in the United Kingdom and beyond. His name has become synonymous with resilience, courage, and the ongoing struggle for equality and human rights.

 

As we reflect on the life and legacy of Altab Ali, we are reminded of the urgent need to confront racism and xenophobia wherever it exists. His memory serves as a powerful reminder of the human cost of hatred and bigotry and the importance of standing up for justice and equality for all.

 

Though Altab Ali's life was tragically cut short, his spirit lives on in the ongoing fight against racism and discrimination. As we honour his memory, let us recommit ourselves to building a world where every person is treated with dignity, respect, and compassion, regardless of their race, ethnicity, or background.

(29) I was the captain of the Royal Bengal football team from the beginning of 1978-1980. We played in Birmingham with the Pakistani team in (1980), arranged by Mr, John Newbigin, who was a renowned youth worker. He drove us with the minibus to Birmingham with Caroline Adams and played the songs of Qurbani Indian film on the portable tape recorder. John Newbigin is the chair of Creative England- a national agency that invests and supports creative ideas, talent and business in film, TV, games and digital media.

As well as a cultural entrepreneur and writer, John Newbigin also happens to be the Chairman of the cultural web publisher of both Culture24 and Cinema Arts Network. Also, he is on the boards of Battersea Arts Centre, First Light and the British Council’s Advisory Board for Arts and Creative Economy. 

Furthermore, Mr Newbigin was closely involved in the UK government’s first policies for the creative industries since he was the Special Advisor

to the Minister of Culture. John’s career sky-rocketed after becoming head of Corporate Relations for Channel 4 Television and executive assistant to Lord David Terence Puttnam. Being the policy advisor to the Leader of the UK Labour Party and Leader of the Opposition, he had the duty for environmental/cultural issues (and amongst others of course).

For 6 years, John Newbigin was a youth worker in East London as well as a writer-in-residence for Common Stock Theatre.

His late friend Author Caroline Adams who was a renowned author, youth worker, cultural activist and co-producer of Hason Raja with both of their guidance we won the game by a 2-1 goal. Our manager Amalendu Chakraborty cooked his beautiful mutton chap we ate in Birmingham to celebrate the victory. We used to practise playing football at Buxton Street Park without a goal post, instead, we put our coats on as goal posts. John & Caroline provided us with a small bamboo-sized mobile aluminium ex-tenable goalpost. Caroline Adams loved us like her own children. I still remember the time at the beginning of 1978 in east London sited someone lap apart from my mum, was Caroline Adams. After graduating in politics from the University of Kent, she went to Calcutta, where she became a volunteer in the Cathedral Relief Service and was involved with, the care of refugees during the war which led to the recreation of Bangladesh in 1971. She set up play facilities for the children, and, after the conflict, visited many of the families she had met in their newly independent country. She was a very close friend of Ms, Valentine Harding whom I accompanied with Tabla at Goldsmiths University of London for her PhD in music. Ms, Valentine Harding was a nurse during the Bangladesh Liberation War. The Legacy of women's contribution in 1971.

In the years 1978-1980, Amalendu Chakraborty was a manager and players were Sundor Miah, Yeor Ali, Muhib Rahman, Ana Miah (1),  Ana Miah (2), Abdul Shubahan, Debu Chakraborty, Abdul Kadir (1), Abdul Kadir (2), Abdul Korim and many more.

(30) In 1982-1985 joined the Organisation called Overseas Youth Organisation OYO once again Amalendu Chakraborty as manager and myself captain with Aroj Ali, Motin Bhai, Islam Bhai, Amir Hussain, Turon Miah, Sunahwar Ali and half of our ROYAL BENGAL team and many more. Sunahwar Ali was a student of Robert Montefiore Secondary School. His flat on Scott Street off Brady Street opposite of Cemetery Codrington House where was the extra congregation place for us. Regularly meeting with Amalendu Chakraborty and his young brother Debu Chakraborty's room at Arthur Deakin House, Chicksand House, Monthope Road and Rickman House. Amir Hussain's flat at Celia Blairman House Folgate Street off Commercial Street was the meeting place as well.

(31) In 1985-1986 our friends formed a team called Algate United and we hired the team course from the local professional league, which used to cost us twenty-six pounds per hour for two hours every Sunday practice in Weaver Field Bethnal Green Road.

(32) Again 1986 to the beginning of 1990 a local organisation called Weaver Youth Forum WYF where I joined the whole team and built a new team I was designated as captain of the team, and then later became an executive member of the director and finally Vice-chairman of the Organisation. Working alongside Abdul Mukit Chunu MBE and many more.

(33) In 1979 I was the founder member of Spitalfields Housing Association originally set up as a Co-operative by local activist Fakaruddin Ahmed and supported by local Bengalis also his villager's lives in Tower Hamlets. My membership fee was paid by my cousin Yousuf Ali who was the founder member and later he became the secretary of the association as well as chairman.

(34) In 1982 I was the founder member of the Bengali Arts Centre at 30 Hanbury Street E1 Kobi Nazrul Centre. It the named after the Bidrohi (rebel) Kobi (poet) Kazi (justice family) Nazrul Islam the national poet of Bangladesh and opened by Lord Fenner Brockway.


(35) 1981-83 First job at a clothing factory as an apprentice under the famous promoter Aroj Ali's management and part-time studies music with various artists from Bangladesh.


(36) 1983-1990 Working clothing factory Duran of London Ltd as well as studying music.

(37) 1986 1994 Tabla

Training Vanarasi School, London Taught by the maestro Debu or Deboo Chowdhury who was trained under the Pandit Radhakanta Nandi. Teachers such as my mentor late Kondukar Emdadul Hoque Manna Swadhin Bangla Betar Kendra (Bengali: স্বাধীন বাংলা বেতার কেন্দ্রn; Free Bengal Radio Station) was the radio broadcasting centre of Bengali nationalist forces during the Bangladesh Liberation War in 1971 was a Radio programme producer as well as singer and composer (trained under the maestro Shaymal Mitra).

(38) London Music School 2004-2005 Diploma in Music Technology at LMS Osborn St Brick lane
Sound Engineering – Distinction
Harmony Theory – Merit
MIDI Computers – Merit
VOCAL – Merit
http://www.tlms.co.uk/

(39) Completed business training from East London Small Business Centre 2010.
http://www.towerhamlets.gov.uk/content_pages/a_to_z/a_to_z_pages/e/east_london_small_business_cen.aspx

(40) 2011 Working for KOTO RONGO Theatre and Zen Bicycle alongside Maestros Paul Cheneour.

http://www.zenbicycleband.co.uk/video_clips.htm

(41) 2013 Production by myself and Yoshisuke Suga
Ek Khana Megh by Earthy Music

(42) 2012 Teaching Tabla as well as composing music for the style of Sufi Baul Fusion music album.

(43) 2013 The album "Flames of Love" the instrumental composition based on "Sufi Baul Fusion" by

Dilly Meah and Paul Cheneour the flutes maestros.

(44) 2013 The album "Heart of Gold" is an instrumental composition based on "Sufi Baul Fusion" by two competent musicians Dilly Meah & Paul Cheneour.

(45) 2013 An untitled album composition based on "Sufi Baul Fusion" by Dilly Meah, Paul Cheneour and Margo Sagov the record will be released sometime in 2014.

(46) 2014 Working on the brand-new fusion album which has one of the oldest songs of Bengal and also had many new songs which are based on the history of Sufi saints of Hazrat Shah Jalal (RA) of Sylhet. The ancient Bengali song was composed by the poet Kavindra Parameshwar in the late medieval period based on the annals of Sultan Ala-uddin Husain Shah and his general Paragal Khan which was the golden age of Hussain Shah.

According to the chronicle of Tripura, Rajmala, Hussain Shah’s four successive invasions did not succeed fully in their objectives. The first was a complete failure. The second conquered Comilla and proceeded inside Tripura, but the invading army was destroyed while crossing the Gomati River through a stratagem by the Tippera general, Rai Chai Chan, who had dammed the river upstream, therefore by blocking the flow of water to the lower reaches.

When the invaders, deceived by the dry riverbed, tried to cross it on foot, he had the dyke cut, and the invaders were washed away with their horses and weapons by the stronger onrush of the floodwaters. That there might have been some success is hinted at in the description of one Khwas Khan in Hussain Shah’s Sonargaon inscription (1513) as Sar-i-Lashkar (commander of Forces) in Tripura, Rajmala also refers to a number of instances when the Tripura forces applied wits craft to the discomfiture of the invaders.

The third expedition also met with failure. The final expedition ended in a victory against the Tripura forces led by King Dhanja Manikya at Kali Fort, but this was also a limited success. Hussain Shah retained control over the approach to Chittagong but did not succeed in his overall objective of conquering Tripura, despite some words in the Sonargaon inscription suggesting some sort of annexation of the Tripura area. As the Kingdom of Arakan had helped the King of Tripura in the closing phases of the war, the war with Tripura inevitably led to a war with Arakan.

Initially, Arakan forces had come and occupied Chittagong. In the year 1513 the Bengal army, led by Paragal Khan, advanced along the Feni River and tried to dislodge the Arakan forces. But this proved to be a long-drawn campaign that continued even after Paragal, under the leadership of his son Chhutti Khan. Chhutti captured Chittagong and could drive out the Arakanese only around 1516. According to Barrows, a contemporary Portuguese writer, Arakan became a vassal Kingdom of Bengal, although this could only have been for a very brief period.

Hussain Shah’s reign, a glorious epoch in Bengal’s history, came to an end shortly after the reconquest of Chittagong around 1519. He had not only restored peace in the Kingdom after years of lawlessness but also consolidated the traditional frontiers of Bengal and even extended them in several directions. His reign was marked by almost continuous fighting with the neighbouring Kingdoms in all directions, but most of these wars were fought beyond the frontiers of Bengal. Therefore, the conditions inside the Kingdom were generally peaceful.

Hussain Shah is also a memorable figure in history because he treated his Muslim and Hindu subjects alike and, like Akbar, tried to create a national monarchy to which all sections of the population showed loyalty. Many Hindus like Roop and Sanatan, who became Chaitanya’s disciples, were appointed to high offices in the government, including the post of wazir. That the Hindus also gave him complete loyalty is illustrated by a Vaishnava poet’s description of Hussain Shah as an incarnation of Lord Krishna.

Some historians have tried to underplay the secular character of Hussain Shah’s administration by dwelling on his destruction of Orissa, but this was essentially the habit of all medieval generals while attacking another land, and there was no personal involvement of Hussain Shah himself. It was during his reign that the great saint Chaitanya preached Vaishnavism, which created an intense movement of bhakti in Bengal and drew followers from many sources into it, some of them Muslims.

This was also the first great age of Bengali literature and the fact that so many poets and scholars produced important works in Bengali during the reign of Hussain Shah and his son, Nusrat Shah, would clearly indicate that the state patronised such activities and created conditional where such creative activities could be flourished. In some instances, a few qazis objected to samkirtan (public chanting) and the procession of idols by Hindus is of lesser consequence than the fact that the government officials, in general, did not put a restriction on these activities at Nabadwip and other towns and that some Muslim officials even patronised and participated in samkirtans.

Above all, the Vaishnava literature in Bengali had many adulatory references to Hussain Shah. All aspects of his rule taken together, this was a great golden age for Bengal, the first such age after Bengal as such had emerged in history, shorn of the earlier name ‘Gaur’, and with a distinct cultural and racial identity and a common language for Bengalee people. The following verse from Parameshwar’s Mahabharata is a self-evident testimony to contemporary Hindu attitudes to 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 
Laskar Paragal 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 spreads all over Gaur.
Well-versed in weaponry, his achievements are infinite.
He is the incarnation of Krishna in the kali era.
King Husain is the Lord of Gaur.
His commander Hasant Lashkar Paragal Khan has a great mind.
He has gifted a golden dress and his horse was of wind's speed.
Lashkar having recovered his possession moved on and arrived at Chittagong in a cheerful mood. 
The great Khan ruled the kingdom with sons and grandsons listening gladly to the Puranas). 


The lyricist Kavindra Parameshwar wrote an abridged version of the Mahabharata. He is not the original author but his version contains 18 chapters of the original Mahabharata. The reason he made his version shorter was that he was instructed by his patron (Paragal Khan) to shorten it so that it was able to be read within a day. The version of the epic was written in the time period of 1515-1519.

(47) Check the video of "Sufi Baul Fusion" genre by two master explorers; 
Sufi Baul Fusion — with Paul Cheneour and Dilly Meah.

‘Sufi- Baul- Fusion’ is a blend of Kirtan music, the spiritual music of Bengal, fused with Sufi ‘Sama’ dervish music,[ inherited from the Persians, Yemen Arabs and Turkish traditions, over the centuries], in the Indian sub-continent via the Sufi saints from the clan of Quraysh, and the tribes of the Arab children of Ibrahim Khalilullah (alaihi wa sallam).

How did the ‘Sufi- Baul-fusion music’ begin? From their initial meeting this unique music, fusing styles, from Tabla player Dilly Meah and flautist Paul Cheneour, has developed over the years.
The ‘Baul’ music of Bengal shares similar African roots to that of Reggae, both using similar rhythmic patterns originally derived from Sufi music.

The tabla (or tabl, tabla) is a membranophone percussion instrument, used in Hindustani classical music, the popular and devotional music of South Asia. The instrument consists of a pair of hand drums of contrasting sizes and timbres. The term tabla is from an Arabic word, tabl, meaning "drum";  the invention is traditionally attributed to Amīr Khusrow.

Ab'ul Hasan Yamīn-ud-Dīn Khusrow (1253–1325 CE) better known as Amīr Khusrow (also Khusrau, Khusro) Dehlawī or Amir Khusrow of Delhi) is regarded as the "father of qawwali" - Sufi devotional music and the founder of Hindustani classical music.

Amir Khusro, was also a prolific classical poet and 14th-century courtier to seven Delhi Sultanates. 

At 72, after the death of his spiritual mentor, Delhi’s Sufi saint Hazrat Nizamuddin Auliya he was in mourning. 
He lost interest in the world, gave away his wealth and retired to Hazrat Nizamuddin’s tomb, 
and died six months later. He was buried in the shrine’s courtyard.

Hazrat Nizamuddin (RA) gave a pair of rare pigeons to Hazrat Shah Jalal (RA) of Sylhet called Jalali Khobutor and today progeny of those pigeons are still found in the area around Hazrat Shahjalal’s shrine (RA). 

In Delhi, Hazrat Amir Khusrow (RA) met three hundred and sixty Sufi saints or companions of Hazrat Shahjalal (RA), descended from Adnan. Hazrat Shah Jalal (RA), the messianic Sufi saint of Bangladesh spread Islam through Sufism. Hazrat Khwaja Shah Burhanuddin Qahtan (RA) known as Hazrat Khwaja Burhanuddin Qattan Shah was descended from Adnan and was the founder of Adnanites, was also an ancestor of Quraysh and an ancestor of Dilly Meah through Sultan Shah Jamal-ud-Din Qureshi the youngest son of Hazrat Shah Kamal Qahtan (RA) whose father was Hazrat Khwaja Burhan-ud-Din Qahtan.

‘Sufi-Baul-Fusion’.
http://dillymeah.blogspot.co.uk/2012_03_01_archive.html

http://dillymeah.blogspot.co.uk/2012/03/dillys-family-legacy.html

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