Contribution of All India Radio to the Popularity of Assamese Modern Songs
Taffazul Ali
(With the establishment of All India Radio, Guwahati, Assamese modern music also gained new momentum. The efforts of distinguished personalities associated with the art and culture of that time gave shape to a new wave of modern Assamese music through All India Radio. To provide today’s generation a glimpse of that musical journey, Enajori.org presents this translated article written by eminent lyricist Taffazul Ali [1929–2008].)
When the All India Radio, Guwahati Centre (then known as Shillong-Guwahati Centre) was inaugurated on the 1st of July, 1948, I was a student of Class X at Mangaldai Government High School. About four months before the inauguration, I had been selected to sing modern and Bon Geet for the Guwahati Centre. Six months prior to the opening, All India Radio officers Ubedul Latif Barua and Purushottam Das had been touring various towns of Assam in search of singers for the radio. They conducted local voice tests (auditions) and selected artists. In one such audition held at the Dak Bungalow in Mangaldai, I was, quite unexpectedly, the only artist selected as a singer.
Without going into further details, I can say that from the first week of August 1948 (I don’t recall the exact date) till the end of 1957, I sang modern songs regularly every month on the radio. After singing for more than ten years, I eventually stopped performing songs on air, as I could not bring about much improvement in my voice or singing. However, my association with the Guwahati Centre did not end there. I continued to contribute by writing radio plays, musical features, talks, and by taking on various responsibilities. For the past fifty years, All India Radio has been intertwined with my life in one way or another.
Since my relationship with All India Radio began through modern songs and through my interactions with singers, lyricists, and composers, I would like to briefly discuss the role that All India Radio has played in the creation, development, and popularity of Assamese modern songs.
Although the stream of Assamese modern songs began around 1890, the lack of proper media prevented its growth. As a result, it developed very slowly. Compositions by accomplished musicians like Lakshiram Barua, Durlabh Chandra Das, Padmadhar Chaliha, Umesh Choudhury, and Ambikagiri Roychoudhury remained in obscurity for want of exposure, and many priceless creations were lost to time. Even in the 1930s and 1940s, the works of luminaries like Kirtinath Sharma Bordoloi, Parvati Prasad Baruva, Jyoti Prasad Agarwala, and Bishnu Prasad Rava did not find a broad channel of dissemination. Apart from a few gramophone records and film songs, it is difficult to trace much of the Assamese modern music of that period. In such a background, Assamese modern music awaited a platform, and the artists of Assam were yearning for an outlet for expression.
With the inauguration of All India Radio in Guwahati on July 1, 1948, a new door of opportunity opened for the artists, writers, and the people of Assam. The independence achieved a year earlier had already created a wave of renaissance and enthusiasm across India. For Assam, All India Radio became one of the main catalysts for a creative and cultural renaissance.
Fortunately, in its early years, some exceptionally talented and visionary officers were appointed at the Guwahati Centre, whose far-sighted leadership laid a strong foundation for the station. They considered All India Radio not merely as an institution but as a medium for nation-building. Later establishments did not always have such dedicated people, which is why they could not attain similar success.
At the beginning, the responsibility of the Music Section of the Guwahati Centre was given to Birendra Kumar Phukan and Purushottam Das — two gifted musicians who, despite numerous challenges, worked tirelessly and systematically to bring both senior and young musicians into the fold of All India Radio. They encouraged talented and trained artists to develop a healthy and strong tradition of Assamese songs and offered them help and guidance. They tried to rediscover the musical treasures lying hidden among senior artists and to nurture the creativity of the younger generation to build a vibrant stream of Assamese modern songs. Within a couple of years of their effort, the results became visible.
Initially, All India Radio regularly broadcast songs sung by senior artists like Anandiram Das, Baloram Das, Dhirendra Nath Das, Tarikuddin Ahmed, and Durga Bhuyan. These broadcasts not only helped preserve the bond of older listeners with the traditional style of Assamese modern songs but also introduced the newer generation to that legacy.
Next, through the songs of Dr. Bhupen Hazarika, Rudra Barua, Brajen Barua, and Nizamuddin Ahmed — pioneers of a new wave — All India Radio presented fresh musical flavours to listeners and guided young singers towards new creative paths. Subsequently, inspired by these ideals, singers like Hemen Hazarika, Deben Sharma, Tultul Bharali, Mukul Barua, Lakshyahira Das, Jnanada Kakoti, Bandana Barua, Dipali Borbora, Birendra Nath Datta, Gunada Das, Ramen Barua, Dipali Barthakur, Jyotirmoy Kakoti, Jyotish Bhattacharjee, Mihir Barua, Khagen Mahanta, Jayanta Hazarika, and Kula Barua enriched Assamese modern music through their melodious voices, earning immense appreciation from listeners.
The next generation of artists like Anima Choudhury, Pulak Banerjee, Santwana Barua, Dolly Ghosh, Beauty Sharma Barua, Namita Bhattacharya, Ridip Dutta, Mahananda Majindar Barua, Rajen Gohain, and Dilip Das continued to carry forward the legacy of modern Assamese songs through All India Radio.
Equally important were the composers who contributed significantly to the refinement and popularity of Assamese modern songs through All India Radio. Among the in-house composers of the Guwahati Centre were Hiralal Banerjee, Manik Chakraborty, Shiva Bhattacharya, Hemen Hazarika, Deben Sharma, Jiten Dev, Nava Barua (also a singer and lyricist), and Mukul Barua. They provided invaluable support to singers by composing new tunes for programs such as Suror Xorai and Ei Mahar Geet (“Song of the Month”). These songs, aired by melodious radio artists, instantly won the hearts of listeners and remained memorable for years. It seemed that these composers had devoted themselves to defining the ideal form of Assamese modern song. Both Purushottam Das and Birendra Phukan also composed a few timeless songs for the radio audience.
Apart from these staff composers, many independent musicians too enriched Assamese modern music with unique compositions that created ripples among listeners and gave rise to new musical trends. Foremost among them were Anandiram Das, Dr Bhupen Hazarika (who initially worked for All India Radio), and Rudra Barua — each of whom occupies a distinct place in Assamese music. Alongside them, Brajen Barua, Durga Bhuyan, Darpanath Sharma, Tarikuddin Ahmed, Vivekananda Bhattacharya, and Nizamuddin Ahmed also contributed remarkable compositions. From the 1950s onward, a new generation of young composers brought fresh vitality to modern Assamese songs through All India Radio — names like Dr Birendra Nath Datta, Ramen Barua, Amit Sarkar, Ajit Singh, Khagen Mahanta, Jayanta Hazarika, Kanu Mukherjee, Kula Barua, and Jyotish Bhattacharjee.
Indeed, these composers, with their active collaboration, enriched and energized the modern music section of All India Radio. But it is equally true that without All India Radio, their recognition and success might not have been so easily achieved.
A good modern song also needs good lyrics. As a discerning lyricist himself, Purushottam Das paid careful attention to the literary quality of the songs. In the early days of the Guwahati Centre, there were no restrictions regarding lyrics — anyone could submit their compositions to be set to music and sung. While this open policy benefited many, it also allowed some inferior songs to get broadcast, drawing criticism.
Hence, about two years after its inception, All India Radio implemented a rule that only lyrics written by approved lyricists would be broadcast. This led to a shortage of suitable new songs. To overcome this, All India Radio took proactive measures.
First, they collected song-type poems from well-known poets and writers in a special register and officially recognized them as approved lyricists. Second, officers like Purushottam Das and Birendra Kumar Phukan personally requested contemporary poets and lyricists — through letters or visits — to write songs for All India Radio and granted them official approval. Third, some aspiring lyricists voluntarily submitted their work for evaluation, and a few were approved. Moreover, during their musical tours and events, Das and Phukan would note any good songs they heard and persuade the writers to submit at least twenty-five of their compositions for review.
Through these methods, All India Radio discovered and encouraged a number of talented young lyricists.
From its inception, All India Radio took every possible care to present songs combining thoughtful lyrics, melodious music, and good singing in their purest form before the public.
It is undeniable that All India Radio not only served as the main source of inspiration for generations of Assamese singers, lyricists, and composers but also played a major role in popularizing Assamese modern songs throughout India.
We firmly believe that this glorious journey will never come to a halt.
(With the establishment of All India Radio, Guwahati, Assamese modern music also gained new momentum. The efforts of distinguished personalities associated with the art and culture of that time gave shape to a new wave of modern Assamese music through All India Radio. To provide today’s generation a glimpse of that musical journey, Enajori.org presents this translated article written by eminent lyricist Taffazul Ali [1929–2008].)
When the All India Radio, Guwahati Centre (then known as Shillong-Guwahati Centre) was inaugurated on the 1st of July, 1948, I was a student of Class X at Mangaldai Government High School. About four months before the inauguration, I had been selected to sing modern and Bon Geet for the Guwahati Centre. Six months prior to the opening, All India Radio officers Ubedul Latif Barua and Purushottam Das had been touring various towns of Assam in search of singers for the radio. They conducted local voice tests (auditions) and selected artists. In one such audition held at the Dak Bungalow in Mangaldai, I was, quite unexpectedly, the only artist selected as a singer.
Without going into further details, I can say that from the first week of August 1948 (I don’t recall the exact date) till the end of 1957, I sang modern songs regularly every month on the radio. After singing for more than ten years, I eventually stopped performing songs on air, as I could not bring about much improvement in my voice or singing. However, my association with the Guwahati Centre did not end there. I continued to contribute by writing radio plays, musical features, talks, and by taking on various responsibilities. For the past fifty years, All India Radio has been intertwined with my life in one way or another.
Since my relationship with All India Radio began through modern songs and through my interactions with singers, lyricists, and composers, I would like to briefly discuss the role that All India Radio has played in the creation, development, and popularity of Assamese modern songs.
Although the stream of Assamese modern songs began around 1890, the lack of proper media prevented its growth. As a result, it developed very slowly. Compositions by accomplished musicians like Lakshiram Barua, Durlabh Chandra Das, Padmadhar Chaliha, Umesh Choudhury, and Ambikagiri Roychoudhury remained in obscurity for want of exposure, and many priceless creations were lost to time. Even in the 1930s and 1940s, the works of luminaries like Kirtinath Sharma Bordoloi, Parvati Prasad Baruva, Jyoti Prasad Agarwala, and Bishnu Prasad Rava did not find a broad channel of dissemination. Apart from a few gramophone records and film songs, it is difficult to trace much of the Assamese modern music of that period. In such a background, Assamese modern music awaited a platform, and the artists of Assam were yearning for an outlet for expression.
With the inauguration of All India Radio in Guwahati on July 1, 1948, a new door of opportunity opened for the artists, writers, and the people of Assam. The independence achieved a year earlier had already created a wave of renaissance and enthusiasm across India. For Assam, All India Radio became one of the main catalysts for a creative and cultural renaissance.
Fortunately, in its early years, some exceptionally talented and visionary officers were appointed at the Guwahati Centre, whose far-sighted leadership laid a strong foundation for the station. They considered All India Radio not merely as an institution but as a medium for nation-building. Later establishments did not always have such dedicated people, which is why they could not attain similar success.
At the beginning, the responsibility of the Music Section of the Guwahati Centre was given to Birendra Kumar Phukan and Purushottam Das — two gifted musicians who, despite numerous challenges, worked tirelessly and systematically to bring both senior and young musicians into the fold of All India Radio. They encouraged talented and trained artists to develop a healthy and strong tradition of Assamese songs and offered them help and guidance. They tried to rediscover the musical treasures lying hidden among senior artists and to nurture the creativity of the younger generation to build a vibrant stream of Assamese modern songs. Within a couple of years of their effort, the results became visible.
Initially, All India Radio regularly broadcast songs sung by senior artists like Anandiram Das, Baloram Das, Dhirendra Nath Das, Tarikuddin Ahmed, and Durga Bhuyan. These broadcasts not only helped preserve the bond of older listeners with the traditional style of Assamese modern songs but also introduced the newer generation to that legacy.
Next, through the songs of Dr. Bhupen Hazarika, Rudra Barua, Brajen Barua, and Nizamuddin Ahmed — pioneers of a new wave — All India Radio presented fresh musical flavours to listeners and guided young singers towards new creative paths. Subsequently, inspired by these ideals, singers like Hemen Hazarika, Deben Sharma, Tultul Bharali, Mukul Barua, Lakshyahira Das, Jnanada Kakoti, Bandana Barua, Dipali Borbora, Birendra Nath Datta, Gunada Das, Ramen Barua, Dipali Barthakur, Jyotirmoy Kakoti, Jyotish Bhattacharjee, Mihir Barua, Khagen Mahanta, Jayanta Hazarika, and Kula Barua enriched Assamese modern music through their melodious voices, earning immense appreciation from listeners.
The next generation of artists like Anima Choudhury, Pulak Banerjee, Santwana Barua, Dolly Ghosh, Beauty Sharma Barua, Namita Bhattacharya, Ridip Dutta, Mahananda Majindar Barua, Rajen Gohain, and Dilip Das continued to carry forward the legacy of modern Assamese songs through All India Radio.
Equally important were the composers who contributed significantly to the refinement and popularity of Assamese modern songs through All India Radio. Among the in-house composers of the Guwahati Centre were Hiralal Banerjee, Manik Chakraborty, Shiva Bhattacharya, Hemen Hazarika, Deben Sharma, Jiten Dev, Nava Barua (also a singer and lyricist), and Mukul Barua. They provided invaluable support to singers by composing new tunes for programs such as Suror Xorai and Ei Mahar Geet (“Song of the Month”). These songs, aired by melodious radio artists, instantly won the hearts of listeners and remained memorable for years. It seemed that these composers had devoted themselves to defining the ideal form of Assamese modern song. Both Purushottam Das and Birendra Phukan also composed a few timeless songs for the radio audience.
Apart from these staff composers, many independent musicians too enriched Assamese modern music with unique compositions that created ripples among listeners and gave rise to new musical trends. Foremost among them were Anandiram Das, Dr Bhupen Hazarika (who initially worked for All India Radio), and Rudra Barua — each of whom occupies a distinct place in Assamese music. Alongside them, Brajen Barua, Durga Bhuyan, Darpanath Sharma, Tarikuddin Ahmed, Vivekananda Bhattacharya, and Nizamuddin Ahmed also contributed remarkable compositions. From the 1950s onward, a new generation of young composers brought fresh vitality to modern Assamese songs through All India Radio — names like Dr Birendra Nath Datta, Ramen Barua, Amit Sarkar, Ajit Singh, Khagen Mahanta, Jayanta Hazarika, Kanu Mukherjee, Kula Barua, and Jyotish Bhattacharjee.
Indeed, these composers, with their active collaboration, enriched and energized the modern music section of All India Radio. But it is equally true that without All India Radio, their recognition and success might not have been so easily achieved.
A good modern song also needs good lyrics. As a discerning lyricist himself, Purushottam Das paid careful attention to the literary quality of the songs. In the early days of the Guwahati Centre, there were no restrictions regarding lyrics — anyone could submit their compositions to be set to music and sung. While this open policy benefited many, it also allowed some inferior songs to get broadcast, drawing criticism.
Hence, about two years after its inception, All India Radio implemented a rule that only lyrics written by approved lyricists would be broadcast. This led to a shortage of suitable new songs. To overcome this, All India Radio took proactive measures.
First, they collected song-type poems from well-known poets and writers in a special register and officially recognized them as approved lyricists. Second, officers like Purushottam Das and Birendra Kumar Phukan personally requested contemporary poets and lyricists — through letters or visits — to write songs for All India Radio and granted them official approval. Third, some aspiring lyricists voluntarily submitted their work for evaluation, and a few were approved. Moreover, during their musical tours and events, Das and Phukan would note any good songs they heard and persuade the writers to submit at least twenty-five of their compositions for review.
Through these methods, All India Radio discovered and encouraged a number of talented young lyricists.
From its inception, All India Radio took every possible care to present songs combining thoughtful lyrics, melodious music, and good singing in their purest form before the public.
It is undeniable that All India Radio not only served as the main source of inspiration for generations of Assamese singers, lyricists, and composers but also played a major role in popularizing Assamese modern songs throughout India.
We firmly believe that this glorious journey will never come to a halt.
Stay up-to-date
Related Post
Listeners of an earlier era still fondly recall waiting eagerly for the broadcast of immensely popular plays and serials from the AIR Guwahati Centre. In the 1960s, eminent playwright Dr. Bhubendra Nath Saikia made invaluable contributions along with noted dramatists like Prafulla Bora, Ghana Hazarika, Mahendra Barthakur, Arup Barthakur, Akhil Chakravarty, and the versatile Arun Sarma.
Thus this way Lakshyaheera earned her nicknames ‘Sanu’, ‘Posaki’ etc. In the wonderful environment of Sualkuchi Lakshyaheera grew up. She spent her childhood in the centre of vaishnavite culture and tradition at Barpeta and the cultural capital of Assam- Tezpur.
Ritha Devi was also the first woman to have been taught the sacred Sattriya Nritya of Assam, and the first dancer to take it out of Assam and out of India. She has also studied some other traditional dances of Assam, like the Deodhani and the Deonati, which were almost on the verge of extinction, and was again the first dancer to showcase them in the international platform.
It was the time of the early nineteen forties when the whole world was ravaged by the Second World War. In the winter of 1941, the Japanese forces attacked Singapore, the foremost naval bastion of the Allies. By December, Singapore had fallen to Nippon. Slowly but surely, the whole of South East Asia started falling to the Axis powers. It was not long before the British and their allies lost their posts in Burma and Indo China.