‘Bhupen Da ka Surila Safar’: Beyond the legend

Review by Chanchala Borah

‘Bhupen Da ka Surila Safar’ is a biography of Bhupen Hazarika, the legendary Assamese singer, composer, poet, filmmaker, and cultural figure, written by Azhar Alam and published by Assam Rastrabhasha Prachar Samiti, Guwahati.

The book positions Bhupen Hazarika not merely as a musical icon but as a deeply political and socially conscious artiste. Alam’s underlying argument is clear: Bhupen Hazarika’s genius was not accidental but the result of personal struggle, historical upheaval, and an unwavering commitment to using art as a tool for social transformation. The biography follows a largely chronological structure, tracing Bhupen Hazarika’s life from his early years through his education, artistic awakening, professional rise, and eventual status as a national and international cultural figure. The book records his involvement in music, cinema, literature, and politics. Alam highlights Hazarika’s intellectual confidence, public speaking, and social awareness. The tone throughout is respectful yet emotionally intimate, presenting Hazarika as both a towering figure and a vulnerable individual.

The biography is clearly grounded in extensive research. Alam draws on newspapers, journals, books, interviews, and earlier scholarly work on Indian cinema and music history, acknowledging a wide range of contributors and sources. This layered sourcing gives the narrative credibility and historical depth.

Azhar Alam presents Bhupen Hazarika as a man shaped by ideas, contradictions, and historical forces, rather than a distant legend.  ‘Bhupen Da ka Surila Safar’ succeeds not only as a life story but also as a cultural document. While the author’s admiration sometimes softens critical distance, the biography’s depth of research, emotional honesty, and political awareness make it a significant contribution to writing about an important cultural figure. The biography does not completely avoid difficult moments such as Hazarika’s emotional struggles, romantic conflicts, and moments of uncertainty about career and purpose. While criticism is not as sharp as it could be, the book does acknowledge internal contradictions rather than presenting a flawless hero.

Hazarika is shown wrestling with the idea that music should not merely entertain but challenge injustice and awaken social consciousness. His life becomes a lens through which the reader sees Assam’s cultural identity, class struggle, nationalism, and the role of artists in public life. It is not just a biography of a singer; it is the story of how art, identity, and resistance came together in one remarkable life. The prose is narrative-driven and emotive, using vivid scenes rather than dry chronology. Alam frequently shifts into storytelling mode, which makes the book accessible to general readers.

(The reviewer can be reached at chanchalaborah9@gmail.com.)