Shivaprasad Bhattacharya: Assam’s forgotten musical genius

Himangshu Ranjan Bhuyan

(hrbhuyancolumnist@gmail.com)

Assam’s cultural journey is rich with the contributions of iconic personalities whose brilliance and commitment have shaped the region’s identity across generations. While figures like Kalaguru Bishnuprasad Rava, Rupkonwar Jyotiprasad Agarwala, and Natasurya Phani Sharma are widely revered for their artistic and intellectual excellence, many equally talented individuals remain lost in the shadows of time. One such personality is Shivaprasad Bhattacharya—a name that once resonated through the artistic circles of Assam but has gradually faded into obscurity. A brilliant composer, singer, lyricist, and social reformer, Shivaprasad’s story is one of passion, struggle, and silent resistance. His life and work, marked by extraordinary cultural commitment and bold social defiance, make him one of Assam’s most under-recognised cultural heroes.

Born on July 3, 1923, in Dekachuk village of Chilabandha Mauza near Jamugurihat, Shivaprasad was raised in a family with modest means. His father, Rajani Bhattacharya, worked as a supervisor in a tea estate, while his mother, Lakshmishwari Bhattacharya, raised five sons under challenging circumstances. The family later shifted to Nandikeshwar village, near the Nandikeshwar temple, where Shivaprasad spent most of his early life. He received his primary education at Chilabandha Boys’ MV School and later joined Tezpur Government Higher Secondary School. He passed his matriculation in the first division, a testament to his academic abilities. However, the death of his mother and the family’s worsening financial situation brought his formal education to a premature end.

Despite these hardships, Shivaprasad’s destiny found its course through his uncle, Kirtiprasad Bhattacharya, a prominent social reformer, actor, and freedom fighter. Kirtiprasad recognised his nephew’s latent talent and became his guiding force, providing the environment for Shivaprasad to pursue music. Drawing inspiration from his surroundings in culturally fertile Jamugurihat, Shivaprasad devoted himself to artistic pursuits. He briefly served in the ARP department during World War II and later worked at Kamrup Bank in Guwahati. When the bank shut down, he turned fully towards music, undeterred by the challenges ahead.

Shivaprasad’s artistic growth was shaped under the guidance of music teacher Chandrakanta Lahon. He learnt to play several instruments, including the flute, organ, jal tarang, and violin. His innate musical sense, melodious voice, and poetic sensibility led him to join the legendary Ban Theatre in Tezpur. In 1944, with the support of Kamal Narayan Choudhury and Purushottam Das, he performed Assamese songs at the Kolkata Radio Station, where he also recorded several pieces. This marked the beginning of a promising musical career that would soon bring him into the realm of Assamese cinema.

The year 1948 proved to be a landmark in Shivaprasad’s life with the release of the film ‘Chiraj,’ co-directed by Phani Sharma and Bishnuprasad Rava. Shivaprasad worked as an assistant music director alongside Dr. Bhupen Hazarika, composing and singing the now-legendary song ‘Aru Nabjabi Been Batorua.’ The song, with its lyrical depth and haunting tune, became an anthem for a generation and established him as a serious musical force. His talent also extended to acting, and his performance in the same film displayed his range as a performing artist. He subsequently worked as the music director for the film ‘Biplabi’ and even tried to launch a new film under his production banner, Anupama Production, though the project titled “Sangsar” never saw the light of day.

While his musical achievements were commendable, Shivaprasad’s personal life was equally significant in the context of social reform. In a conservative society that shunned widows and guarded caste boundaries fiercely, Shivaprasad made a bold statement by marrying a widow, Anupama Bhattacharya. Anupama was from a distinguished family—the daughter of Gopal Bezbaruah and the niece of poet Anand Chandra Barua. She had lost her husband shortly after marriage and was subjected to the regressive norms reserved for widows. When Phani Sharma cast her in “Chiraj,” she was still burdened with the weight of societal disapproval. During the film’s production, Shivaprasad not only stood by her but also declared in front of others, “I will marry her,” challenging the deeply rooted social stigmas. This union, born out of conviction and courage, was met with ostracism, but it also symbolised a defiant resistance to unjust norms.

Following his marriage and the continued struggle to support his family, Shivaprasad joined the Phulbari Tea Estate as a clerk. His daughter, Runumi, who would later become a respected singer and artist, was born during this period. Despite financial constraints and declining health, he remained connected to his musical roots. In the early 1950s, he became active in the Rangpur Jyoti Sangha of Sivasagar, where he contributed as a composer, actor, and mentor. His orchestration and music in the stage play ‘Runumi’ are still remembered for their artistic excellence. Those who heard his fingers gliding across the organ or piano keys describe the melodies he produced as magical, evoking deep emotions and reflecting the soul of Assam.

Sadly, his life came to a premature end on April 29, 1953, due to pleurisy. He was only thirty years old. His passing deeply moved his contemporaries. Bishnuprasad Rava mourned, “No money, no wealth, he fell into the cruel clutches of the demoness of pleurisy. Only thirty years old! What an age!” Bhupen Hazarika wrote, “Among the illustrious Assamese artistes, our beloved Shivaprasad Bhattacharya holds a special place.” Yet, society’s response to his death remained cold. Due to his illness and his marriage to a widow, many refrained from participating in his last rites. The responsibility fell upon a handful of brave and progressive individuals from the Rangpur Jyoti Sangha, including Chandi Prasad Barua, Bibhuti Chaliha, and others, who ensured his cremation was carried out with dignity at the Dikhau riverbank.

In the aftermath of his death, Anupama Bhattacharya published a collection of his songs titled ‘Hiyar Kahinur’ in 1954. Unfortunately, many of his handwritten songs were lost when a portion of the manuscript accidentally fell into the Brahmaputra during a boat journey. Still, some of his works survive and bear witness to his lyrical and musical genius. Songs such as ‘Bat buli bhagari parile’, “Malaya o priyar deshlai ya,” “Kalijar ranga tejar bolowa,” and “Rangali o bohagar rangali o” continue to stir the hearts of listeners. His most celebrated piece, “Aru Nabjabi Been Batorua,” was later re-recorded by Nripen Mahanta in a tribute album, and his melodies have been preserved in collective memory through the efforts of a few committed admirers.

Shivaprasad Bhattacharya lived a life that mirrored the struggles of a sensitive artist navigating a society reluctant to change. His work as a composer, lyricist, and cultural activist was infused with deep commitment to the Assamese identity, progressive values, and artistic integrity. In an age when conformity was the safest route, he chose the harder path—standing up against prejudice, fighting economic hardship, and composing songs that sang of dreams, love, and rebellion. That such a significant figure remains underappreciated by contemporary Assam reflects a wider pattern of neglect for those who challenged the norm without institutional backing.

Today, remembering Shivaprasad Bhattacharya is not merely an act of cultural homage but also a recognition of the silent battles waged by artistes who refused to bow down to society’s narrow expectations. It is a call to re-evaluate how we honor our history and whom we choose to remember. His life, though short, was filled with intensity and purpose, and his music continues to echo with the soul of Assam. In reviving his legacy, we rediscover the strength of Assamese culture itself—brave, poetic, defiant, and deeply humane.