Sudhakantha: Eternal bard of Assam and immortal sun of music

Heramba Nath

(herambanath2222@gmail.com)

There are moments in human history when a single individual transcends the limitations of geography, time, and mortality, becoming not just a cultural figure but an eternal spirit who embodies the voice of an entire civilisation. For Assam and for India, Dr Bhupen Hazarika was that rarest of souls — a singer, poet, composer, philosopher, and visionary whose words and music captured the pain, the struggles, the hopes, and the dreams of humanity. His birth centenary on September 8, 2026, does not merely mark a hundred years since his arrival on earth; it marks a hundred years since the birth of a legend whose resonance has never diminished, a hundred years of music that has lived on beyond his mortal life.

As one listens to his timeless songs, one is compelled to bow before his genius, to acknowledge that the power of music goes beyond entertainment. It becomes truth itself. A heartfelt tribute rightly begins with the words that echo the soul of his journey: “O great soul! You are the sun of music — though mortal, you remain immortal. By presenting the tragic truths of human life through your songs, you gave life a new meaning. In every rhythm, we discover the grandeur and sweetness of existence. And yet, it often seemed that Assamese society did not fully recognise you in the truest moments of your life. Had you received the Bharat Ratna while still alive, you might have found peace, and in truth, the soul of the nation itself would have been glorified. O eternal worshipper of humanity, O miner of songs, today on your birth centenary we remember you with unending reverence, for just after Srimanta Sankardeva, you have become the living soul of Assam’s national identity.”

This poetic homage, rooted in truth, reflects what millions feel. For Dr Hazarika was more than a singer; he was a philosopher in tune, a chronicler of humanity, and the cultural conscience of Assam.

It is often said that music can express what words alone cannot. If this is true, then Dr Hazarika’s life itself was the embodiment of that belief. From his earliest years in Sadiya, where he was born in 1926, to his rise as one of the most iconic voices of the subcontinent, his journey was one of continuous search for the universal in the local. His association with the Indian People’s Theatre Association (IPTA) in his youth shaped his social consciousness. His education in America, including a doctoral degree at Columbia University, gave him the intellectual tools to understand how art could influence social change. But his heart remained deeply anchored in the rivers, valleys, and songs of Assam. He was both global and local, modern and traditional, intellectual and instinctive.

Dr Hazarika’s genius lay not just in his ability to compose music but in the extraordinary simplicity with which he could express the most profound truths. His songs were not abstract philosophy but living reflections of ordinary life. When he sang of the Brahmaputra, it was not just a river but a symbol of eternal flow, struggle, and continuity. When he sang of the poor, the displaced, and the marginalised, it was not mere sympathy but lived empathy. His songs about humanity, love, and justice transcended borders, languages, and religions. His compositions were translated into Bengali, Hindi, and many other tongues, making him not only the voice of Assam but also a voice of India and indeed of the world.

And yet, every Assamese knows a deeper truth: Dr Hazarika, the eternal legend of Assam, continues to live in the eyes and hearts of every Assamese generation. It is not merely memory but an eternal truth — a truth that flows like the Brahmaputra itself, unbroken and everlasting. Children who never saw him alive hum his tunes today; youth who know little of his biography still carry his voice in their hearts. His music flows through time as the lifeblood of Assamese cultural identity.

Dr Hazarika was not merely a singer but a reformer of cultural imagination. He dared to ask questions through his songs, questions that others might avoid in prose or politics. He sang of exploitation and inequality, of hunger and despair, but also of resilience and love. He was fearless in critiquing social evils, yet compassionate in showing the beauty of unity. His “manuhe manuhor babe” became more than a song; it became an ethical commandment for society. His art was not divorced from life but directly shaped by it.

It is, however, one of the painful paradoxes of Indian cultural life that such a towering figure did not receive the nation’s highest honour — the Bharat Ratna — while alive. Recognition came posthumously, which to many felt like justice delayed, if not denied. For an artist who embodied the conscience of a people, such delay was not merely personal neglect but a symbolic failure of the nation to acknowledge its greatest bard in his lifetime. And yet, Dr Hazarika himself would perhaps have smiled at such ironies. For he knew that true immortality does not come from awards but from the eternal echo of a people’s song.

Dr Hazarika’s centenary is not merely an occasion to recall his music but to re-examine the vision he laid before us. In a world increasingly torn apart by hatred, violence, and greed, his songs remind us of the fundamental truth that humanity is one. His voice continues to challenge us to dream of a society where compassion outweighs cruelty, where dignity is not the privilege of a few but the right of all, and where cultural identity is not exclusion but inclusion.

His death in 2011 was a national moment of mourning, but in reality, his passing did not end his journey. The rivers still sing his songs, the mountains still echo his voice, and the people still breathe his spirit. In Assamese homes, in cultural gatherings, in school programmes, and in global concerts, his music continues to live. To say he is gone is meaningless; he remains as alive as the truth he sang of.

On this centenary, one cannot help but reflect on the parallel between Srimanta Sankardeva and Dr Hazarika. If Sankardeva laid the spiritual and cultural foundation of Assamese identity in the 15th and 16th centuries, Dr Hazarika renewed and redefined that identity in the 20th century. His songs provided a new moral compass, a new cultural binding force, ensuring that even amidst modern chaos, Assam did not lose its soul. In that sense, he truly stands just after Sankardeva as the second great architect of Assamese cultural life.

Dr Hazarika’s legacy is also political in the broadest sense — not partisan politics but the politics of humanity. His art was protest without violence, resistance without hatred, and hope without illusion. He demonstrated that culture could be both beauty and power, both melody and message. He left behind not merely songs but a living philosophy that future generations can build upon.

The philosophical depth of Dr Hazarika’s work was inseparable from his humanism. His compositions were informed by empathy, informed by a profound understanding that social justice is inseparable from emotional resonance. In his songs, one finds the struggle of labourers, the quiet dignity of the common folk, the laughter of children, the despair of the marginalised, and the resilience of the oppressed. Every note, every word, every pause carries an ethical imperative: to feel, to act, and to recognise the shared responsibility of humanity.

Dr Hazarika’s artistry was also a bridge between cultures. He merged folk traditions with modern orchestration, blending Assamese melodies with global harmonies. This fusion did not dilute local culture; instead, it elevated it to a universal plane. Through his music, Assam spoke to India, India spoke to the world, and the world listened. His songs became a language that transcended linguistic barriers, a medium through which emotions could flow unimpeded by geography.

Dr Hazarika was also a teacher — in spirit, if not always in the classroom. He taught generations to see art as activism, to understand that melody carries meaning, and that rhythm can challenge injustice. His music demanded introspection: it compelled listeners to confront inequality, to feel compassion, and to recognise the dignity inherent in every life. Such lessons, imparted not in lectures but in notes and words, remain enduring and transformative. The moral courage of Dr Hazarika deserves special recognition. In decades when many chose silence in the face of social inequities, he sang. In times when the powerless were voiceless, he gave them expression. In moments of despair, he infused hope. Songs such as “Ganga Behti Ho Kyun” in Hindi and his Assamese masterpieces became more than art; they became movements, quietly shaping minds, hearts, and societies.

In reflecting upon Dr Hazarika’s life, one realises that his centenary is not merely about nostalgia or remembrance. It is a call to action — a call to reconnect with values that he embodied: empathy, justice, courage, and devotion to culture. To celebrate him is not only to replay his melodies but also to ensure that the ethical resonance of his work continues to influence society. His centenary is an opportunity to renew Assam’s commitment to cultural integrity, social responsibility, and humanity at large.

Dr Hazarika’s connection with the youth remains particularly significant. In an era when cultural roots risk being severed by rapid globalisation, his songs act as a tether, a bridge linking young minds to their heritage. Even for those unfamiliar with his biography, the music speaks directly to the heart. It teaches, inspires, and elevates, demonstrating that culture is not static but living, and that identity is not inherited passively but nurtured actively through engagement and appreciation.

His death did not mark the end of his influence; rather, it ensured that his music became immortal. The rivers still sing his songs, the wind still carries his melodies, and every Assamese child, consciously or unconsciously, absorbs the values he espoused. Dr Hazarika’s legacy is thus both tangible and spiritual, encompassing tangible works of music, literature, and performance, as well as the intangible ethics, aspirations, and humanism that they embody.

Dr Hazarika’s life is also a reminder of the delicate balance between recognition and artistry. While the posthumous Bharat Ratna acknowledged his contributions, it also highlighted the tragic reality that genius is often fully understood only after departure. Yet, his music itself became the true award, resonating across decades, crossing borders, and inspiring countless individuals. For him, the ultimate acknowledgement was not institutional but existential — living within the hearts of people and echoing in the rhythms of life itself. Today, as Assam and the world commemorate his centenary, our responsibility is not merely to remember but to embody the spirit he represented. Dr Hazarika taught that art without conscience is hollow, culture without empathy is barren, and fame without purpose is meaningless. To truly honour him, society must live the ideals he sang about: equality, compassion, resilience, and devotion to humanity.

Dr Hazarika was not simply a singer; he was the chronicler of life’s profound truths. Every composition, every lyric, and every performance carried the weight of ethical commitment and humanistic vision. His life demonstrates that music can indeed transform society — not through coercion, but through persuasion, inspiration, and ethical resonance. In this sense, his work remains both timeless and urgently relevant. On this centenary, we bow to this immortal sun of music, with reverence and gratitude, whispering once more the eternal truth that though he left us in body, Dr Hazarika remains forever alive—in every heart, in every song of Assam, and in every soul that believes in humanity. His life and work will continue to illuminate paths for generations to come, reminding us that art is not merely aesthetic but profoundly moral, social, and eternal.