The Golden Era of Drama at All India Radio Dibrugarh Centre
Syed Sadullah
A society’s vitality and strength depend greatly on its cultural identity, which acts as the true mirror of that society. In this regard, drama plays an indispensable role—it stirs new thoughts in the hearts of people burdened with social struggles and offers pathways toward resolution.
All India Radio’s contribution to Assamese theatre, especially through its various centres, has been commendable over the decades. Both the Guwahati and Dibrugarh centres have enriched listeners’ minds by broadcasting numerous influential plays that have left deep impressions on generations. The golden history of radio drama in Assam bears the creative imprints of many celebrated playwrights.
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.
The AIR Dibrugarh Centre, established in 1969, also holds a glorious place in Assamese radio drama. The first play it independently produced was He Juddha Bidai by Phani Das, broadcast in 1971 under the banner of the cultural group “Mancharupa” of Dibrugarh. The play featured notable actors like Iva Achao Rahim, Anil Sharma, Hasan Sharif Ahmed, Shabir Ahmed, Anima Baruah, Shasha Handique, Probodh Das, Gunin Goswami, Prafulla Barthakur, and Leela Baruah.
The production became possible under the initiative of officer-in-charge Shyamananda Baishya. Until 1975, Dibrugarh Centre relayed plays produced by the Guwahati Centre. In the same year, with the opening of its Malakhubasa studio, Dibrugarh began producing its own plays.
Under the directorship of the renowned classical musician Birendra Kumar Phukan, the centre soon established itself. He was assisted by talented individuals such as Deben Sharma (music director, lyricist, and officer-in-charge) and Lutful Rahman, an experienced broadcaster. Their dedication and vision helped the centre gain prominence in a short span of time. During this period, I joined the centre and soon developed a close working relationship with playwright Munin Bhuyan. Together we collaborated on almost every play and feature production.
The first play produced by Dibrugarh Centre’s drama unit was Bichar, a children’s play written by Munin Bhuyan and broadcast in October 1975. The play went on to win a Special Prize in the All India Radio National Drama Competition that year—a proud moment for a newly established station.
Another documentary, Sasya Pranor Pran Kendra by officer H. N. Patra, won the first prize, adding further glory. I still vividly recall how Director Phukan sent a car to bring me to the office, where he, Deben Sharma, and Lutful Rahman were waiting to celebrate the news with an “official tea party.”
In March 1976, we attended the national award ceremony at Vigyan Bhavan, Delhi. One memorable moment was when members of the judging panel congratulated us, saying:
“Congratulations! Although we could not follow the language, we enjoyed the play because it was so nicely produced.”
This encouragement inspired Munin and me to strive even harder. The following year, in 1976, the Dibrugarh Centre shone brilliantly on the national map of All India Radio by bagging four national awards—an unprecedented achievement.
The award-winning productions were:
1. Eta Notun Pothere – Documentary – First Prize
2. Ki Phule Phulala – Musical Feature – First Prize
3. Eta Cholaar Kahini – Play – First Prize
4. Rojoni Bidur – Play – Second Prize
The playwrights were Ali Haidar and Nabin Sharma. Both plays were co-produced by Lutful Rahman, Munin Bhuyan, and myself.
Ali Haidar was an exceptional dramatist—his sense of direction, dialogue composition, and mastery of the aural medium were remarkable. Eta Cholaar Kahini created a sensation among listeners with its powerful dialogue:
“All my life I’ve stitched clothes for others. I never had one of my own. My own is torn—patched and patched until there’s no place left to patch.”
In 1976–77, Dibrugarh Centre also broadcast popular serials like Aparajita and Madhupurat Rati Puwaab, written and directed by the renowned dramatist Sushil Goswami. These serials became household favourites.
During the 1970s and 1980s, many talented artistes enriched the drama scene—Bharat Barpujari, Anil Sharma, Rajani Sharma, Golap Sharma, Atul Goswami, Paragdhar Chaliha, Golap Dutta, Bishnu Khargaria, Sushil Goswami, Bhupen Goswami, Ranapratap Baruah, Shabir Ahmed, Hemanta Dutta, Prakash Barpujari, Phunu Baruah, Tilok Duwara, Biren Phukan, Bhavesh Goswami, Fazlul Rahim, Rafel Rahim, Munin Bhuyan, Paban Bezbaruah, and many others, including child artistes Sanjib Sharma and Amitabh Gogoi.
In this era, Jadu Barpujari also translated and produced Assamese versions of Shakespeare’s famous plays like Romeo and Juliet, Othello, Hamlet, and Julius Caesar—a matter of great pride for any radio centre.
Other remarkable productions from Dibrugarh included Ghana Hazarika’s Shohid, Rajani Sharma’s Munindra Under-Matric, Sushil Goswami’s Kukuha, Abhinetri, Sajat Bondi, Manik Ahmed’s Nastik, Arun Sarma’s Chiyor, Agnigarh, Nibarun Bhattacharya, Aditir Atmakatha, and Lutful Rahman’s Bondho Duwar. Radio adaptations of Ankiya Nats, Jyotiprasad Agarwala’s Lobhita, Sonit Kunwari, and Rupalim also added artistic brilliance.
In 1979, Munin Bhuyan’s classic Hati aru Phandi won first prize in the All India National Drama Competition. His perfectionism made every production a masterclass in craftsmanship, from sound effects to performance. I remember how he recreated the sound of an elephant trampling a man by recording the crunching of dry twigs inside a cardboard box—it was pure genius.
Later, in 1983, he produced Setu by Tarunchandra Pamegam. The centre also saw the emergence of talented artistes like Kamal Sharma, whose portrayal of Iago in Othello was outstanding.
In 1997, the play Urukha won second prize nationally. Its creation itself was an amusing story—written by candlelight with colleagues Lohit Deka and Rupjyoti Duwara, who also recorded authentic rural sounds like dripping rain and roosters at dawn for the background.
Over the years, playwright Arun Sarma’s Trilogy – Nisonga Bahir Sur, consisting of Agnigarh, Nibaran Bhattacharya, and Aditir Atmakatha, became a milestone. His deep understanding of the “audiographic” concept—writing for sound—made his radio plays uniquely powerful. In 2000, Dibrugarh Centre broadcast a 13-episode adaptation of his Sahitya Akademi Award-winning novel Ashirbadar Rong, produced by Manik Ahmed. Announcers like Ajayananda Bora and Prabhat Dhrubajyoti Bordoloi also contributed to several productions.
The centre’s satirical plays like Munindra Under-Metric by Rajani Sharma and Kotha Kowa Goru and Bej by Lutful Rahman provided comic relief with sharp social commentary.
Among the long-serving and dedicated producers, Lakshi Dutta stands out. Since the 1980s, she has produced numerous acclaimed dramas including Elandhu (Lakhi Mahanta), Surujmukhir Sopun (Syed Abdul Malik), Guwahatilor para Bokakhatoloi (Imtiaz Ali), Bhupendra Baruah (Surendra Nath Sharma), Bhoot (Arun Goswami), Sadhani (Lakhi Mahanta), Eposhek Aru Eta Din (Madan Sharma), Ejon Briddhar Atmakatha (Nanda Chutiya), Madhuratam Samay (Saponjyoti Thakur), Panchatantram (Mahendra Hazarika), and Singhasan (Labanya Gogoi).
Parallel to drama, the centre’s serial Kramoshah introduced Assamese audiences to world literature through novel readings like Victor Hugo’s Les Misérables (translated as Din-Dukhi).
In recent times, despite fierce competition from electronic media and the growing dominance of Western influence, AIR continues to uphold cultural integrity and moral values through thoughtful programming. The popularity of radio drama endures because of its human essence and emotional depth.
It is hoped that future playwrights will continue this legacy—creating socially conscious dramas that inspire optimism, reform, and reflection among listeners.
Acknowledgement:
Special thanks to Lohit Deka, All India Radio, Dibrugarh.
A society’s vitality and strength depend greatly on its cultural identity, which acts as the true mirror of that society. In this regard, drama plays an indispensable role—it stirs new thoughts in the hearts of people burdened with social struggles and offers pathways toward resolution.
All India Radio’s contribution to Assamese theatre, especially through its various centres, has been commendable over the decades. Both the Guwahati and Dibrugarh centres have enriched listeners’ minds by broadcasting numerous influential plays that have left deep impressions on generations. The golden history of radio drama in Assam bears the creative imprints of many celebrated playwrights.
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.
The AIR Dibrugarh Centre, established in 1969, also holds a glorious place in Assamese radio drama. The first play it independently produced was He Juddha Bidai by Phani Das, broadcast in 1971 under the banner of the cultural group “Mancharupa” of Dibrugarh. The play featured notable actors like Iva Achao Rahim, Anil Sharma, Hasan Sharif Ahmed, Shabir Ahmed, Anima Baruah, Shasha Handique, Probodh Das, Gunin Goswami, Prafulla Barthakur, and Leela Baruah.
The production became possible under the initiative of officer-in-charge Shyamananda Baishya. Until 1975, Dibrugarh Centre relayed plays produced by the Guwahati Centre. In the same year, with the opening of its Malakhubasa studio, Dibrugarh began producing its own plays.
Under the directorship of the renowned classical musician Birendra Kumar Phukan, the centre soon established itself. He was assisted by talented individuals such as Deben Sharma (music director, lyricist, and officer-in-charge) and Lutful Rahman, an experienced broadcaster. Their dedication and vision helped the centre gain prominence in a short span of time. During this period, I joined the centre and soon developed a close working relationship with playwright Munin Bhuyan. Together we collaborated on almost every play and feature production.
The first play produced by Dibrugarh Centre’s drama unit was Bichar, a children’s play written by Munin Bhuyan and broadcast in October 1975. The play went on to win a Special Prize in the All India Radio National Drama Competition that year—a proud moment for a newly established station.
Another documentary, Sasya Pranor Pran Kendra by officer H. N. Patra, won the first prize, adding further glory. I still vividly recall how Director Phukan sent a car to bring me to the office, where he, Deben Sharma, and Lutful Rahman were waiting to celebrate the news with an “official tea party.”
In March 1976, we attended the national award ceremony at Vigyan Bhavan, Delhi. One memorable moment was when members of the judging panel congratulated us, saying:
“Congratulations! Although we could not follow the language, we enjoyed the play because it was so nicely produced.”
This encouragement inspired Munin and me to strive even harder. The following year, in 1976, the Dibrugarh Centre shone brilliantly on the national map of All India Radio by bagging four national awards—an unprecedented achievement.
The award-winning productions were:
1. Eta Notun Pothere – Documentary – First Prize
2. Ki Phule Phulala – Musical Feature – First Prize
3. Eta Cholaar Kahini – Play – First Prize
4. Rojoni Bidur – Play – Second Prize
The playwrights were Ali Haidar and Nabin Sharma. Both plays were co-produced by Lutful Rahman, Munin Bhuyan, and myself.
Ali Haidar was an exceptional dramatist—his sense of direction, dialogue composition, and mastery of the aural medium were remarkable. Eta Cholaar Kahini created a sensation among listeners with its powerful dialogue:
“All my life I’ve stitched clothes for others. I never had one of my own. My own is torn—patched and patched until there’s no place left to patch.”
In 1976–77, Dibrugarh Centre also broadcast popular serials like Aparajita and Madhupurat Rati Puwaab, written and directed by the renowned dramatist Sushil Goswami. These serials became household favourites.
During the 1970s and 1980s, many talented artistes enriched the drama scene—Bharat Barpujari, Anil Sharma, Rajani Sharma, Golap Sharma, Atul Goswami, Paragdhar Chaliha, Golap Dutta, Bishnu Khargaria, Sushil Goswami, Bhupen Goswami, Ranapratap Baruah, Shabir Ahmed, Hemanta Dutta, Prakash Barpujari, Phunu Baruah, Tilok Duwara, Biren Phukan, Bhavesh Goswami, Fazlul Rahim, Rafel Rahim, Munin Bhuyan, Paban Bezbaruah, and many others, including child artistes Sanjib Sharma and Amitabh Gogoi.
In this era, Jadu Barpujari also translated and produced Assamese versions of Shakespeare’s famous plays like Romeo and Juliet, Othello, Hamlet, and Julius Caesar—a matter of great pride for any radio centre.
Other remarkable productions from Dibrugarh included Ghana Hazarika’s Shohid, Rajani Sharma’s Munindra Under-Matric, Sushil Goswami’s Kukuha, Abhinetri, Sajat Bondi, Manik Ahmed’s Nastik, Arun Sarma’s Chiyor, Agnigarh, Nibarun Bhattacharya, Aditir Atmakatha, and Lutful Rahman’s Bondho Duwar. Radio adaptations of Ankiya Nats, Jyotiprasad Agarwala’s Lobhita, Sonit Kunwari, and Rupalim also added artistic brilliance.
In 1979, Munin Bhuyan’s classic Hati aru Phandi won first prize in the All India National Drama Competition. His perfectionism made every production a masterclass in craftsmanship, from sound effects to performance. I remember how he recreated the sound of an elephant trampling a man by recording the crunching of dry twigs inside a cardboard box—it was pure genius.
Later, in 1983, he produced Setu by Tarunchandra Pamegam. The centre also saw the emergence of talented artistes like Kamal Sharma, whose portrayal of Iago in Othello was outstanding.
In 1997, the play Urukha won second prize nationally. Its creation itself was an amusing story—written by candlelight with colleagues Lohit Deka and Rupjyoti Duwara, who also recorded authentic rural sounds like dripping rain and roosters at dawn for the background.
Over the years, playwright Arun Sarma’s Trilogy – Nisonga Bahir Sur, consisting of Agnigarh, Nibaran Bhattacharya, and Aditir Atmakatha, became a milestone. His deep understanding of the “audiographic” concept—writing for sound—made his radio plays uniquely powerful. In 2000, Dibrugarh Centre broadcast a 13-episode adaptation of his Sahitya Akademi Award-winning novel Ashirbadar Rong, produced by Manik Ahmed. Announcers like Ajayananda Bora and Prabhat Dhrubajyoti Bordoloi also contributed to several productions.
The centre’s satirical plays like Munindra Under-Metric by Rajani Sharma and Kotha Kowa Goru and Bej by Lutful Rahman provided comic relief with sharp social commentary.
Among the long-serving and dedicated producers, Lakshi Dutta stands out. Since the 1980s, she has produced numerous acclaimed dramas including Elandhu (Lakhi Mahanta), Surujmukhir Sopun (Syed Abdul Malik), Guwahatilor para Bokakhatoloi (Imtiaz Ali), Bhupendra Baruah (Surendra Nath Sharma), Bhoot (Arun Goswami), Sadhani (Lakhi Mahanta), Eposhek Aru Eta Din (Madan Sharma), Ejon Briddhar Atmakatha (Nanda Chutiya), Madhuratam Samay (Saponjyoti Thakur), Panchatantram (Mahendra Hazarika), and Singhasan (Labanya Gogoi).
Parallel to drama, the centre’s serial Kramoshah introduced Assamese audiences to world literature through novel readings like Victor Hugo’s Les Misérables (translated as Din-Dukhi).
In recent times, despite fierce competition from electronic media and the growing dominance of Western influence, AIR continues to uphold cultural integrity and moral values through thoughtful programming. The popularity of radio drama endures because of its human essence and emotional depth.
It is hoped that future playwrights will continue this legacy—creating socially conscious dramas that inspire optimism, reform, and reflection among listeners.
Acknowledgement:
Special thanks to Lohit Deka, All India Radio, Dibrugarh.
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