(02) Composed the original score and performed as an actor in the short film Bangla Lane, produced and directed by Anam Hoque in 1995.
(03) Featured in a BBC production for the Royal Navy recruitment advertisement in 2004.
(06) Night in Bengal is a fusion album conceptualised, predominantly written, composed, produced, and independently released by me in 2002. Each track is an original composition, with the title piece, Night in Bengal, serving as a testament to universal and egalitarian music. This track exemplifies an eclectic blend of Bengali musical traditions and Western instrumentation, creating a harmonious synthesis of diverse influences.
The creative vision behind two standout tracks—Nishiraat (lyrics) and Dim-ta-nana Nana (musical theme)—was shaped by a deeply personal and otherworldly experience: an encounter with an extraterrestrial light in 1993. This mysterious phenomenon appeared as a U-shaped radiance, resembling an arch or a pair of rounded-top double doors, and enveloped me in its luminous embrace, leaving a lasting impression that profoundly influenced the album’s sonic landscape.”
CD Liner Notes Version
Night in Bengal
A fusion of soul and sound, Night in Bengal is an album born from vision and deep resonance. Written, composed, produced, and released by Dilly Meah in 2002, it blends the rhythms of Bengali musical heritage with the textures of Western instrumentation, creating a soundscape that is both intimate and expansive.
The title track, Night in Bengal, stands as a celebration of music’s power to transcend borders and speak a universal language. Two standout pieces—Nishiraat and Dim-ta-nana Nana—were inspired by a profound and personal experience: a luminous, U-shaped extraterrestrial light witnessed in 1993. This encounter left an indelible mark, shaping the emotional and sonic core of the album.
Promotional Write-Up Version
Night in Bengal (2002) is a groundbreaking fusion album by Dilly Meah, blending the ancient pulse of Bengali traditions with the textures of modern Western instrumentation. Conceptualised, composed, and produced by Meah, the album presents a rich and universal musical language rooted in mysticism, rhythm, and transcultural harmony.
The title track exemplifies this vision, while Nishiraat and Dim-ta-nana Nana reflect a more intimate source of inspiration: a personal encounter with a radiant, otherworldly light in 1993. Shaped like an arch or rounded-top double doors, the light enveloped the artist in its glow—an experience that continues to echo throughout the album’s soundscape.
The launch party for Night in Bengal took place in 2002 at the Brady Arts and Community Centre, Hanbury Street, E1. It was a memorable evening celebrating the fusion-based album, which I had the privilege of creating, composing, and producing at the Brady Centre.
The event was graced by esteemed guests, including:
• Ali Mehdi Zaidi, director of Motiroti Theatre
• Shakeel Mohammed, sound engineer at On the One Community Music Studio, St. George’s Town Hall, 236 Cable Street, London
• GM Najim Chowdhury, CEO of Betar Bangla Radio 1503 AM
• Shamim Azad, renowned poet
• Abdul Jabbar, the legendary Bangladeshi singer and recipient of numerous prestigious awards:
• Bangabandhu Padak (1973)
• Ekushey Padak (1980)
• Shadhinota Padak (1996)
• Citycell-Channel I Music Awards – Lifetime Achievement Award (2011)
I was also fortunate to learn from Professor Dr Syed Shariful Islam, the younger son of the national leader Syed Nazrul Islam and the youngest brother of Syed Ashraful Islam, the former LGRD Minister of Bangladesh. Professor Islam is a distinguished academic, currently serving as the Head of the Public Health Department at PG Hospital (now known as Bangabandhu Sheikh Mujib Medical University—BSMMU in Dhaka, Bangladesh). He also holds the esteemed position of Dean of the Faculty of Medicine in Public Health and Informatics at BSMMU.
For over a decade, Flat 8, Basil House, Henriques Street, London, E1, served as a second home to me. Under the guidance of Professor Islam, I spent countless hours perfecting my Tabla skills while also engaging in deep discussions about literature, history, and philosophy. This intellectual and cultural exchange profoundly influenced my creative and academic outlook.
This residence also holds historical significance, as it was the birthplace of Betar Bangla Community Radio 1503 AM, where Professor Islam was a director.
During this period, I had the privilege of forming connections with some of the most brilliant minds in literature, academia, and the arts, including:
• Professor Syed Manzural Islam, his elder brother, a celebrated novelist, and the creator of the first literary map of Brick Lane; also, a professor of literature at the University of Gloucestershire
• Dr. Moniruz Zaman Monir, a key figure in social services at Tower Hamlets
• Cllr Doros Ullah, a respected community leader
• Bishwo Shahitto Kendro, London, and its many esteemed members
• Mozibul Hoque Moni, an actor and writer
• Dr. Hemel Muksed (Farhan Muksed Hemel), a physician and singer, known in the album as Dr. Pop; though he was in Bangladesh at the time, his sister—who was a secondary school teacher—graciously attended the album launch
• Many more community friends whose contributions enriched my artistic and intellectual pursuits
(07) Sound Radio 1503 AM, London (2005–2007)
Served as Head of Music, where I played a key role in shaping the station’s artistic direction. My responsibilities included:
• Composing original jingles for the station
• Curating playlists and discovering emerging musical talents
• Organising a recital of Indian Raga-based music at Queen Mary Hall, featuring distinguished artists such as Asif Akbar and Kaniz Shuborna
This period was an enriching experience, allowing me to merge my passion for music with the dynamic world of radio broadcasting, fostering both traditional and contemporary artistic expressions.
http://en.wikipedia.org/wiki/Syed_Nazrul_Islam
http://www.betarbangla.org.uk/about_us_2.html
(08) Television Appearances and Literary Collaborations
I had the privilege of performing music on Channel 5 at the launch of Mr. Q’s novel, Dead Meat. Additionally, my work has been featured on various satellite TV channels, showcasing my musical contributions to diverse audiences.
(09) Lewisham Academy of Music (1997–Present)
At the Lewisham Academy of Music, I have been actively involved in teaching fusion music, blending traditional South Asian rhythms with contemporary Western influences. Alongside my teaching role, I have also performed on stage, sharing my passion for cross-cultural musical expressions.
(10) Boishakhi Mela Performance (1997)
I had the honour of performing a solo Tabla recital at the Boishakhi Mela (Bengali: Pohela Baishakh) in 1997. My performance slot was arranged by Shadhin Khasru, the coordinator of the Kobi Nazrul Centre, who is now a prominent figure in the Bangladeshi film and drama industry.
The first-ever Boishakhi Mela in London took place in front of Pauline House, Hanbury Street, E1, in July 1984. The chief guest of this inaugural event was none other than Kabori Sarwar, the legendary Bangladeshi film actress.
Kabori Sarwar was awarded the Bangladesh National Film Award for her remarkable performance in Sareng Bou (The Captain’s Wife). She later transitioned into politics, being elected as a Member of Parliament (MP) for Narayanganj District No. 4 on 29th December 2008 under the Awami League.
Beyond her cinematic and political career, Kabori Sarwar played a vital role in the Bangladesh Liberation War of 1971, actively participating from India. She holds the distinction of being the first Bangladeshi woman to be broadcast on All India Radio during the war, using her voice as a beacon of hope and resistance for the people of Bangladesh.
http://www.amazon.co.uk/Dance-Fire-Paul-Cheneour-Dilly/dp/B004SGTX1E/ref=sr_1_4?s=music&ie=UTF8&qid=1338397307&sr=1-4
An evocative musical and poetic project, This Being Human is an album inspired by the 13th-century Sufi poet Rumi. The compositions blend music, poetry, and storytelling, creating a deeply spiritual and artistic experience.
Musicians:
• Paul Cheneour – Flute
• George Hadjineophytou – Oud & Saz
• Me – Tabla
• Olly Blanchflower – Double Bass
Storytellers:
• Ashley Ramsden & Duncan Mackintosh – Voices
This project was honoured with an A4E (Arts Council of England) grant, recognising its artistic and cultural significance.
About Rumi:
Jalal ad-Din Muhammad Balkhi, commonly known as Rumi, was a 13th-century Persian Sufi poet, philosopher, and mystic whose works have profoundly influenced poetry and spirituality worldwide. His verses explore themes of love, divine union, and the human journey into the depths of the soul.
(13) London International Festival of Theatre (LIFT) – Music Teaching & Composition (1995–1997)
All teaching and composition roles were facilitated through the London International Festival of Theatre (LIFT) under short-term contracts ranging from 12 to 18 months. My role involved:
• Teach music theory and composition in a classroom setting.
• Work with groups of around twenty students, fostering creativity and musical expression.
• Encouraging students to listen intuitively, understanding note and chord changes through aural perception and recitation rather than traditional notation alone.
Teaching Roles in London Schools
(14) Thomas Buxton Primary School (1996–1997)
I had the opportunity to teach and mentor students at Thomas Buxton Primary School, contributing to their musical education.
(15) Harbinger Primary School (1995–1996)
At Harbinger Primary School, I introduced young learners to the fundamentals of rhythm, melody, and composition, helping them develop a music appreciation.
(16) Central Foundation Girls’ School (1995–1996)
During my tenure at Central Foundation Girls’ School, I worked with students to enhance their musical skills, particularly focusing on fusion music, bridging Eastern and Western musical traditions.
.jpg "Sitting behind the sound engineer at Premises Studio on Hackney Road is Arun Halder, who designed the marketing program for the launch of Bangla TV. Beside him is my beloved teacher, the late Khandkar Emdadul Hoque Manna Sir, and next to him, myself, Dilly Meah, in the first picture. In the second picture, Mohammed Ali Ana is seen wearing a red cap. In the third picture, Manna Sir, Suja Miah, and part of Ahmed Ali’s head can be seen, while I, Dilly Meah, am engaged in conversation with the sound engineer.")
17) Composer, London International Festival of Theatre (LIFT), London (1995–1996)
I served as a composer for the London International Festival of Theatre (LIFT), a prominent arts festival founded by Rose Fenton and Lucy Neal in 1981. LIFT has been pivotal in introducing international theatre to London’s audiences, showcasing a variety of innovative productions.
• LIFT’s Mission: The festival aimed to bring the best of global theatre to British audiences, with a focus on innovative and international performances.
• In 2003, leadership was passed to Angharad Wynne-Jones, who remained Artistic Director until 2008, when Mark Ball took over.
• LIFT’s Impact: In its early years, it drew impressive crowds, with 35,000 attendees in its first year and 92,500 in 1993.
(18) Celebrating India’s 50th Anniversary (Music & Drama)
To mark the 50th Anniversary of India, I had the privilege of teaching music and drama to students preparing for a stage performance celebrating this historic milestone. I was responsible for creating all the background music for the songs and drama scenes within the production.
• The festival aimed to expose British audiences to a broader spectrum of international theatre, with a rich array of performances from across the globe.
(19) Composer for “The Seed, The Root” alongside Akram Khan MBE
I worked as a composer for the production of “The Seed, The Root” alongside the renowned choreographer and performer Akram Khan MBE, whose groundbreaking work has earned him numerous accolades. Notably, in 2004, Akram Khan received an Honorary Doctorate of Arts from De Montfort University for his outstanding contributions to the UK arts community.
http://www.towerhamletsarts.org.uk/?cat=29&cid=29276&guide=Organisations
(20) Wave Dancing Company (1997–1998)
I collaborated with Dr. Mukid Chowdhury as part of the Wave Dancing Company, a collective dedicated to the fusion of music and dance. This creative partnership explored interdisciplinary performance art, combining rhythm, movement, and visual storytelling. Their work was showcased at the Edinburgh International Festival and on various stages across London, earning recognition for its innovative approach to cultural expression.
(21) International Tours (1997–1998 and 2004)
As a Tabla accompanist alongside flautist Paul Cheneour and the London Music School, I participated in a series of international tours that included performances in Istanbul, Calcutta, Dhaka, Sylhet, and Mumbai. These tours served as platforms for intercultural dialogue and artistic exchange, allowing the ensemble to present their music to diverse audiences while engaging with local musical traditions.
(22) Tales of the Flute (1999)
In 1999, I composed the music for Tales of the Flute in collaboration with Paul Cheneour. The production was captured by Arun Halder and was brought to life through the efforts of Red Gold Music. The post-production was carried out by Paul Cheneour and Eric Massey, resulting in an evocative piece that blended traditional and contemporary elements.
(23) Versatile Knowledge of Music
(24) Instrumental Proficiency
I am proficient in playing a range of Indian and other instruments, including the Tabla, Dhol, Khol, Dufkey (also spelt Dupki), Keyboard, Ek-Tara, Tanpura, Manjira, and Harmonium. This diverse skill set enables me to bring a unique blend of sounds and rhythms to my compositions and performances.
(25) Technical Knowledge
I possess a basic knowledge of PA systems and mixing consoles, which allows me to manage sound effectively during performances and recordings, ensuring the optimal presentation of music.
(26) Arakana Studio, London (2008-2009)
(27) Secondary Education
(28) 1978-1980: Film Workshops and Mentorship
I had the privilege of meeting a youth worker at the Montefiore Centre on Hanbury Street, E1 5HZ, by the name of Sayed Ashraful Islam. He worked for the Inner London Education Authority (ILEA) and, in time, may have served as the Centre’s director. Ashraful Islam was not only a prominent community leader but also resided on what was once Berner Street (now Henriques Street), E1. I frequently visited this area with Aroj Ali, who shared his dedication to uniting the Bengali community against the racial attacks that plagued East London.
It was during these visits that I encountered the passionate cultural activist and journalist Shahab Uddin Belal Ahmed. He had a unique obsession with cutting fonts and words from Bangladeshi newspapers to create newsletters. Under Sayed Islam’s guidance, he would meticulously cut and paste these words onto A4-sized sheets, photocopying both the front and back to produce four pages of Bengali newsletters. These newsletters were dedicated to raising awareness of the racist attacks and highlighting news within the Bengali community of East London.
Shahab Uddin Belal Ahmed was also a prominent presenter, hosting numerous Bengali cultural shows across the UK. I recall one time when he asked me to purchase some kebab puris from the Sweet & Spice restaurant in Brick Lane. When I asked for money, he replied, “You don’t have money. Why do you work?” So, I went ahead and bought the kebab puris for him and his friends. His apartment, filled with anti-racist campaign boards and sleeping bags, often served as a haven for many of his comrades, who spent their nights there.
Ahmed’s background was nothing short of remarkable. He had been a successful freedom fighter during the 1971 Bangladesh Liberation War. As the elder son of Syed Nazrul Islam, one of Bangladesh’s foremost independence leaders, he carried forward the legacy of his father, who was also an advocate, professor, and vice president of the country. Syed Nazrul Islam had tragically died in captivity at the Old Dhaka Central Jail, along with the national leader Tajuddin Ahmed, the first Prime Minister of Bangladesh.
In the same vein, other prominent figures, such as Muhammad Mansur Ali, the Finance Minister of the Mujibnagar Government, and Abul Hasnat Muhammad Qamaruzzaman, a key member of the Awami League, also played pivotal roles in the fight for independence. Syed Nazrul Islam, in particular, was the acting President of Bangladesh in 1971 and the first Bangladeshi to take the Oath of Office as Acting President.
Beyond his leadership in the cultural space, Mr. Newbigin played a key role in shaping UK government policy on creative industries, serving as the Special Advisor to the Minister of Culture. His career truly took off when he became Head of Corporate Relations for Channel 4 Television and later executive assistant to Lord David Terence Puttnam. Additionally, John was the policy advisor to the Leader of the UK Labour Party, where he focused on environmental and cultural issues, among others.
In the late 1970s and early 1980s, I had the privilege of being part of an extraordinary network of individuals, and it was under the guidance of my late friend Caroline Adams, a renowned author, youth worker, cultural activist, and co-producer of Hason Raja, that we found the strength to push through challenges. Caroline, alongside her partner John Newbigin, supported our Royal Bengal football team with immense dedication. With their encouragement, we triumphed in a 2-1 victory during a match in Birmingham, a celebration of which included a delightful mutton chap prepared by our manager, Amalendu Chakraborty. We all gathered in Birmingham to share a meal in celebration.
During our football practices at Buxton Street Park, we had no proper goalposts, so we would use our coats as makeshift goals. Later, John and Caroline gifted us a small, bamboo-sized, mobile aluminium goalpost, which became an essential part of our training. Caroline Adams loved us like her own children, and I have vivid memories of her nurturing presence. One of my fondest memories from 1978 was sitting on her lap in East London, a gesture that felt like a second motherly embrace, aside from my own mum.
Caroline had an inspiring background. After graduating in politics from the University of Kent, she volunteered with the Cathedral Relief Service in Calcutta, where she was deeply involved in the care of refugees during the Bangladesh Liberation War of 1971. She also set up play facilities for children and, after the conflict, visited many families in the newly independent Bangladesh. Her humanitarian work, especially during the creation of Bangladesh, was extraordinary. Caroline was also a close friend of Ms. Valentine Harding, whom I had the privilege of accompanying while she pursued her PhD in music at Goldsmiths University of London. Valentine Harding, a nurse during the Bangladesh Liberation War, also became an influential figure in my life.
Between 1978 and 1980, under the management of Amalendu Chakraborty, the Royal Bengal football team included players such as 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 others, all of whom shared in the spirit of unity and activism during a challenging time.
(30) In the years 1982 to 1985, I rejoined the Overseas Youth Organisation (OYO), where Amalendu Chakraborty continued as manager, and I served as captain. The team included Aroj Ali, Motin Bhai, Islam Bhai, Amir Hussain, Turon Miah, Sunahwar Ali (a student at Robert Montefiore Secondary School), and many of our Royal Bengal teammates. Sunahwar Ali’s flat on Scott Street near Brady Street was a gathering point for our group, where we often met with Amalendu Chakraborty and his younger brother, Debu Chakraborty. Additionally, we gathered in Amir Hussain’s flat at Celia Blairman House on Folgate Street.
(31) From 1985 to 1986, a new team called Algate United was formed by our friends. We hired local professional league grounds for practice, paying £26 per hour for two hours every Sunday at Weaver Field, Bethnal Green Road.
(32) From 1986 to 1990, I became deeply involved with the Weaver Youth Forum (WYF), a local organisation where I joined the team and helped form a new one. I initially served as the team captain, later moving into leadership as an executive member and eventually becoming Vice-chairman. It was an incredibly rewarding period, working alongside Abdul Mukit Chunu MBE and many other dedicated individuals.
(34) In 1982, I had the honour of becoming a founding member of the Bengali Arts Centre, located at 30 Hanbury Street, E1, which was also known as the Kobi Nazrul Centre. This cultural hub was named after the legendary Kazi Nazrul Islam, the national poet of Bangladesh, whose revolutionary poems and songs ignited the spirit of resistance against colonial oppression. Often referred to as the Bidrohi Kobi (Rebel Poet), Nazrul hailed from a family deeply rooted in justice, and his literary works continue to inspire generations. The Centre was inaugurated by the esteemed Lord Fenner Brockway, a passionate advocate for social justice and equality.
(35) Between 1981 and 1983, I embarked on my professional journey as an apprentice at a clothing factory under the mentorship of the renowned promoter Aroj Ali. During this time, I not only refined my skills in the clothing industry but also nurtured my love for music, studying part-time with several distinguished artists from Bangladesh. This period marked a defining phase in my life, where the demands of work seamlessly intertwined with the joy of musical exploration.
(37) Between 1986 and 1994, I received Tabla training at the Vanarasi School in London under the esteemed maestro Deboo Chowdhury (also spelled Deboo Chowdhury). He was trained by the legendary Pandit Radhakanta Nandi, a prominent figure in Indian classical music. During this period, I was fortunate to also be mentored by the late Khondker Emdadul Hoque Manna, who was a key figure at the Swadhin Bangla Betar Kendra (Free Bengal Radio Station) during the Bangladesh Liberation War of 1971. Manna, an accomplished radio program producer, singer, and composer, trained under the maestro Shaymal Mitra. His guidance played a pivotal role in shaping my musical journey.
(38) In 2004-2005, I completed a Diploma in Music Technology at the London Music School (LMS), located on Osborn Street, Brick Lane. During my time there, I achieved a Distinction in Sound Engineering and Merits in Harmony Theory, MIDI Computers, and Vocal studies. The skills I gained through this program have had a lasting impact on my musical career, particularly in the realm of sound engineering and technology. [Website: www.tlms.co.uk]
(39) In 2010, I completed business training through the East London Small Business Centre, further equipping myself with the tools to navigate the entrepreneurial landscape. This experience gave me the skills and confidence to manage business operations and pursue my professional goals. [Website: www.towerhamlets.gov.uk]
(40) In 2011, I worked for KOTO RONGO Theatre and Zen Bicycle, collaborating alongside maestros such as Paul Cheneour. This experience allowed me to explore new creative avenues, both in theatre and the arts, while working with talented individuals who shared a passion for innovation and artistic expression.
(41) In 2013, I had the privilege of co-producing Ek Khana Megh alongside Yoshisuke Suga under the banner of Earthy Music. This project represented a profound exploration of fusion music, seamlessly blending traditional and contemporary sounds to craft a distinctive and captivating sonic experience.
(42) In 2012, I devoted my time to teaching the Tabla, while simultaneously composing music for a Sufi Baul fusion album. This endeavour sought to harmonize the spiritual essence of Sufi music with the folk traditions of the Baul, weaving a rich and intricate fusion of melodies and rhythms.
(43) In 2013, I contributed to the album Flames of Love, an instrumental composition deeply rooted in the Sufi Baul fusion genre. In collaboration with Paul Cheneour, the renowned flute maestro, this album resonated with the profound emotional depth and mystical beauty inherent in both Sufi and Baul traditions.
(44) That same year, I embarked on the creation of Heart of Gold, another instrumental album within the realm of Sufi Baul fusion music. This work, a continued creative exploration with Paul Cheneour, further delved into the soulful and transcendent qualities of this distinctive musical style.
(45) In 2013, I also began work on an untitled album, once again rooted in Sufi Baul fusion music. This project, a collaborative effort between myself, Paul Cheneour, and Margo Sagov, was slated for release in 2014 and aimed to push the boundaries of the fusion genre further.
The chronicles of Tripura, notably the Rajmala, paint an extraordinary portrait of the fierce but often thwarted ambitions of Sultan Hussain Shah during his reign in Bengal. His four successive invasions of Tripura, though ambitious, faltered in their ultimate goals, highlighting the resilience and tactical ingenuity of the Tripura forces. The first of these invasions ended in utter failure, a testament to the unforeseen challenges of conquest in an unfamiliar land.
The second invasion, although more aggressive, saw Hussain Shah’s forces conquer Comilla and advance deeper into Tripura. However, as the invaders crossed the Gomati River, a brilliant stratagem by the Tripura general, Rai Chai Chan, turned the tide. Rai Chai Chan had cleverly dammed the river upstream, creating a deceptive dry riverbed that enticed the invaders to cross on foot. At the moment the Bengal army attempted to cross, he ordered the dyke cut, unleashing a flood that swept away both soldiers and horses, rendering the invasion a catastrophic failure.
Despite these setbacks, Hussain Shah’s ambitions persisted, with hints of success mentioned in the Sonargaon inscription of 1513, where Khwas Khan is described as the “Sar-i-Lashkar” (commander of forces) in Tripura. The Rajmala, too, recounts multiple instances where Tripura’s defense relied on strategic wit, frustrating the invaders’ plans. However, the third expedition, like its predecessors, proved unsuccessful, with Hussain Shah’s forces unable to fully subdue Tripura.
The final invasion, while resulting in a battle won at Kali Fort, marked only a partial victory for Hussain Shah. The defeat of King Dhanja Manikya’s forces at Kali Fort enabled Hussain Shah to secure control over the approaches to Chittagong. Yet, his overall goal of conquering Tripura remained unachieved. Though the Sonargaon inscription hints at some form of annexation, Tripura’s resilience held firm. With the Kingdom of Arakan siding with Tripura in the later stages of the conflict, Hussain Shah’s war with Tripura inevitably led to an engagement with Arakan, one that would stretch over several years.
The Arakanese, initially occupying Chittagong, found themselves pushed back by Hussain Shah’s forces. In 1513, Paragal Khan led the Bengal army along the Feni River to expel the Arakanese, though the campaign extended into a prolonged struggle. After Paragal’s death, his son, Chhutti Khan, took charge and finally succeeded in recapturing Chittagong around 1516. This victory, though significant, was short-lived as Arakan briefly became a vassal state of Bengal. However, this period of vassalage was fleeting, and by 1519, Hussain Shah’s reign had come to an end.
Hussain Shah’s legacy is defined by his restoration of peace to a land long fractured by chaos, consolidating the traditional boundaries of Bengal while extending them into new territories. Though his reign was marked by almost continuous warfare with neighboring kingdoms, the internal peace within Bengal allowed for prosperity and cultural development. Hussain Shah’s rule was remarkable for its inclusivity, treating both Muslim and Hindu subjects with equal respect. Like the Mughal Emperor Akbar, he sought to forge a unified monarchy that transcended religious divisions, fostering loyalty among all sections of his people.
Hindus like Roop and Sanatan—who later became disciples of Chaitanya—were appointed to high offices, including the wazirship. A Vaishnava poet even lauded Hussain Shah as an incarnation of Lord Krishna, illustrating the deep devotion he inspired among his Hindu subjects. Some historians, however, have sought to downplay the secular nature of Hussain Shah’s rule, citing his destruction of Orissa, a common practice among medieval generals during invasions. But Hussain Shah’s involvement was minimal, and his reign should be remembered for the flourishing of culture rather than destruction.
Under his rule, Bengal witnessed the rise of a profound Vaishnavism movement led by the saint Chaitanya, who preached love and devotion to God through bhakti. This movement had far-reaching effects, attracting followers from various religious backgrounds, including Muslims. Hussain Shah’s reign also marked the first golden age of Bengali literature. Poets and scholars flourished under his patronage, producing remarkable works in the Bengali language. While some local qazis objected to public chanting and idol processions, the general atmosphere was one of tolerance and encouragement for the arts, even by Muslim officials who sometimes participated in such cultural practices.
The legacy of Hussain Shah’s reign can be seen in the vibrant cultural and literary renaissance that blossomed in Bengal during his rule. His efforts to create a unified and peaceful state laid the groundwork for a cultural awakening that reverberated through the region for generations. His reign, though marked by warfare, also ushered in a period of creativity, religious tolerance, and intellectual growth. Parameshwar’s Mahabharata, with its glowing references to Hussain Shah, is a testimony to the reverence in which he was held by contemporary Hindus.
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 as fast as the 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 his sons and grandsons listening gladly to the Puranas).
Kavindra Parameshwar, a renowned lyricist and poet, is known for his abridged version of the Mahabharata, a monumental work that condensed the vast and intricate epic into a more accessible form. While he is not the original author of the Mahabharata, his version is significant for its unique approach and historical context. Written between 1515 and 1519, this abridged rendition of the epic was specifically created under the patronage of Paragal Khan, a prominent figure of the time. Paragal Khan, recognising the grandeur of the Mahabharata, requested Parameshwar to shorten the original text to a more manageable length, one that could be read in a single day.
As a result, Parameshwar’s version of the Mahabharata consists of 18 chapters, distilling the essence of the epic while retaining its core themes and moral lessons. This condensation made the work more accessible to a wider audience, ensuring that the profound wisdom of the Mahabharata could be experienced in a more concise form without losing the integrity of its narrative. The timing of this version’s creation, during the reign of Hussain Shah in Bengal, further reflects the cultural and intellectual climate of the period, marked by a flourishing of literature, art, and philosophical thought. Parameshwar’s Mahabharata thus stands as a testament to the adaptability of ancient texts shaped by the historical and cultural needs of its time.
(47) Watch the video showcasing the “Sufi-Baul Fusion” genre, created by two master explorers: Paul Cheneour and myself.
Sufi Baul Fusion — with Paul Cheneour and Dilly Meah.
The fusion began from the first meeting between me, as a tabla player, and Paul Cheneour, a gifted flautist. Over the years, we have developed a unique and evolving musical language, blending our distinct styles into something entirely new. Notably, the Baul music of Bengal, with its deep spiritual undertones, shares common roots with African rhythms—specifically, the rhythmic patterns that form the foundation of Reggae music, a style that, in turn, owes much to Sufi traditions.
The tabla, a traditional membranophone percussion instrument, plays a central role in this fusion. Its origins can be traced back to the Arabic word ‘tabl’, meaning “drum”. Traditionally, the tabla is attributed to the great Amīr Khusrau, an iconic figure in Sufi music. Khusru, regarded as the “father of qawwali” and a founding figure of Hindustani classical music, was instrumental in blending Persian, Indian, and Sufi musical traditions. His devotion to his spiritual mentor, Hazrat Nizamuddin Auliya (RA), and his legacy continue to influence modern Sufi music.
The fascinating connection between Sufi music and the tabla lies in the teachings and journeys of Hazrat Amir Khusrow (RA), who not only shaped classical music but also shared a profound bond with the Sufi saints of the time. In Delhi, Khusrow met numerous Sufi saints who were connected to Hazrat Shahjalal (RA) of Sylhet, a key figure in the spread of Sufism in Bengal. This mystical lineage, including Hazrat Khwaja Shah Burhanuddin Qattan (RA), forms an important part of the musical and spiritual heritage that I am connected to, both personally and musically.
Through this fusion, we not only celebrate the rich traditions of Sufi and Baul music but also forge new paths for spiritual expression in the modern world, drawing from a deep well of historical, cultural, and mystical influences. The journey from tabla rhythms to the soulful notes of the flute is a testament to the timelessness of Sufi-Baul fusion and its ability to transcend time and borders.
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मानहानि मामले में केजरीवाल अदालत में पेश
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