Commemorating Parvati Prasad Baruva's 59th death anniversary

LONI AGARWALA

Parvati Prasad Baruva is aptly called the Geetikavi of Assam. Equally gifted in composing poetry, songs, music and prose, he is essentially a lyrical poet and even his songs are poetry in motion. The characteristic feature of his compositions is the use of simple everyday words, imparting to them a sweet poetical melody. The Axam Xahitya Xabha, the premier literary body of the State, published an anthology of his works in 1981, entitled Parvati Prasad Baruvar Rasanavali, a compilation of his varied compositions. They include the following:

Mou Tokari (first published in 1926), is a collection of songs that use "earthy" words, familiar, homely rustic words to express the poet's love for his motherland, the 'eternally beautiful divine', etc.

Lakshmi (first published in 1931), is a dance drama set in Autumn where nature is personified in the characters of Sarat Konwar, Kohua, Dawor and Sewali.

Luiti (first published in 1951), a collection of 23 melodious songs set to the tune of bongeet, literally songs of the forest, celebrating the beauty of nature and the intimate relationship of man and nature – the forest flowers, trees and the river Brahmaputra (locally known as the Luit).

Gungunani (first published in 1953). The songs in this anthology deal with the poet's relation with nature, his love for his motherland, his philosophy, the sounds of the countryside and his dialogues with the unseen divine. A few songs betray the influence of Tagore.

Sonar Soleng (first published in 1955) was his second dance drama whereas like the earlier Lakhimi it also has characters that find a place in many of his poems, especially the Been Boragi (The Minstrel), the eternal seeker characterizing the poet himself. The flock of geese, young children, an old woman and the dancers are all reminiscent of Tagore's Raja.

Bhonga Tokarir Sur (first published in 1959) is a collection of poems that expressed the feelings born of personal loss: loneliness, frustration and hopelessness at the cruel hand of fate. These poems were composed after the accident in which he lost his friend and mentor, his elder brother Bhagavati Prasad, the latter's wife and son and their young sister.

Sukula Dawor Oi Kohua Phul (first published in 1963) is a collection of lyrical poems, primarily odes to Sarat or the pre-Autumnal season, personified sometimes as Lakhimi Aie or the bountiful mother and sometimes as a beauteous youth called Sarat Konwar. In these poems, the poet paints a picture of the pre-Autumn days in Assam - the fluffy white clouds after the rains, the Kohua Bon, the waves on the Luit (Brahmaputra), the dewdrops, the soft moonlight and the wonderful natural beauty around him.

Khel Bhonga Khel (published in 1969) is a collection of the poet's later compositions, in the period before his death in 1964. Though nature finds a place in this collection it is different in that it deals with modern ideas and experiences like social consciousness, uncertainty, fear and turmoil.

Moyapee is a collection of melodious songs that best display the lyrical poet's craft, his adeptness in using familiar rustic words and imparting to them a musical quality.

Bhonga Kabita is a collection of 20 poems that include the poetry of Shelley, Byron and Hafiz, translated by the poet from English to Assamese, retaining the feel of the original while at the same time bearing the unmistakable stamp of the lyrical poet.

Prose Compositions include the Presidential Address of the Assam Sahitya Sabha's 39th Session's Sangeet Sanmilan and articles on Samidhan, Rupkonwaror Kotha, Silpa Sambandhe Ekasar, Jonaki Mel, etc.

Rupohi (1940), the fourth Assamese movie was an adaptation of his friend Kamaleswar Chaliha's story which the poet directed and produced. He also acted in it.

When Parvati Prasad passed away, his songs were known only to a few people outside the circle of his family, friends and contemporaries. It was his eldest son Pranavi (Rupoh) who continued the family tradition of making music a part of his life. Entrusted with the task of composing music for his father's lyrical poems and songs [the poet had once remarked to his eldest daughter Santvana: 'Rupoh is so adept; his music is like my own, I've asked him to continue setting my poems to music"] from an early age, he lived up to the great burden his father had left him with. He never received any training in classical music, but he lived and breathed music. Every evening at Sonali Pam he used to play on the harmonium and sing his father's songs, accompanied by his friends Ghiyasuddin Ahmedand Khagen.

In 1971, under the banner of Parvati Soaroni Sanstha, Pranavi produced the first record of the Geetikavi's song. He roped in his mentor Bhupen Hazarika to lend his voice to the now-famous song Pujon Aha. A young Malabika Bora (Baruah) sang Saradhi Sandhiyar Jonaki Mel while Pranavi himself sang Nobolo Tok Sonar Asam. His friend Ghiyas sang in chorus along with them in Ahise Aji Nabajibonor Dhal.

However, except for Bhupen Hazarika, Pranavi and his friends were yet to make a name for themselves, and this first production was not a commercial success. Pranavi realized that to popularize his father's legacy a popular singer was needed, a voice that the people of Assam were familiar with. The obvious choice was Bhupen Hazarika. In 1982, the first longplaying record of eight of the poet's compositions was released by EMI with the active financial backing of the poet's cousin brother, the tea planter Hemendra Prasad Barooah. Bhupen Hazarika's golden voice ensured the immense popularity of this record titled Parvati Prasad Baruvar Geet Aru Kabita.

The eight songs in this album were Aji Phagunar Pua Belate, Aahin Mahiya Sewali Sorile, Heyro Boliya Nayan Bhari Bhari Sa, Maaj Nisha Mor Endhar Ghorot, Been Boragi (a recitation), Kihor Ragid Jola Kola Holi, Bojale Aahine Banhi Ne Been and Jai Brata Sankalpa Bhagi.

In 1984 the third record was released. Titled Tomar Premor Bhogjorati it contained eleven songs:

These were Tomar Premor Bhogjorati, Jivan Jadi Herale Tor, Seuji Parot, Gorokhiya Heyro Gorokhiya, Sonar Harina, Tomar Rothor Jayadhvaja, Luitor Chaporit, Tor Nai Je Bondhowa Bat, Jonak Jonak, Teun Melani Magile and Aie Mor Sonare Asamat. Very soon the songs of the Geetikavi were on everyone's lips. He had at long last received his due recognition in the cultural life of Assam. Now, when music competitions were held among different groups in Assam, Parvati Prasad Baruva's songs found a place along with the songs of Bishnu Prasad Rabha and Jyoti Prasad Agarwala.

In 1971 the Assam Sahitya Sabha published a volume of the poet's collected works called Parvati Prasad Baruvar Rasanavali.

This book familiarized the academic world with the poet's compositions. His poem Tor Nai Je Bondhowa Bat was included in the syllabus of the Assamese literature paper of the High School Leaving Certificate examination of the Secondary Board of Examination in Assam. His Sukula Dawor Oi Kohua Phul, a collection of poems was included in the Master's degree syllabus of the Gauhati University.

The Jonaki Mel is also a unique constituent of the poet's legacy. In 1929, while at Sarusorai T.E. situated near Jorhat in Upper Assam, Parvati Prasad had held the first Jonaki Mel (a moonlight musical soiree) at the tea garden bungalow. It was a gathering of like-minded souls which he called Saradi sandhiyar jonaki mel. Its first and foremost rule was that there were no rules. Whoever came to the Jonaki Mel could come on to the stage and perform. These moonlight soiréés were held in course of time at his home in Sonari Sonali Paam, at Shillong and Guwahati, and found a place in the annals of the cultural history of the state. Today, in Assam, the Jonaki Mel epitomises Parvati Prasad's creative spirit.

Source: Excerpts from "Geetikavi, The Poetry of Parvati Prasad Baruva" by Dr Paromita Das

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