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The earliest record of Sufism in Bengal goes back to 11th century AD in connection with the continuation of Sufism in northern India. Shah Sultan Rumi was the first Sufi to come to Bengal, when he came to Mymensingh in 1053 AD.Sufism not only helped in the spread of Islam in Bengal, but also contributed to the eventual creation of a Muslim society in Bangladesh. Apart from the religiosity, the influence of the Sufis became attached to popular Bengali culture by the confluence of the murshidi, marfati and baul songs, and gazir gan. [1]

Murshidi Gan devotional folk songs that evolved and flourished mainly through sufis. The word 'murshid', derives from the Arabic 'ershad', and means 'to order or give advice'. A murshid gives advice to his disciples and leads them to the spiritual way by means of devotional rites.

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For Bengalis, the songs' appeal, stemming from the combination of emotive strength and beauty described as surpassing even Tagore's poetry, was such that the Modern Review observed that "[t]here is in Bengal no cultured home where Rabindranath's songs are not sung or at least attempted to be sung... Even illiterate villagers sing his songs".[8] Tagore influenced sitar maestro Vilayat Khan and sarodiyas Buddhadev Dasgupta and Amjad Ali Khan.[5]

Shyama Sangeet is a genre of Bengali devotional songs dedicated to the Hindu goddess Shyama or Kali which is a form of supreme universal mother-goddess Durga or parvati. It is also known as Shaktagiti or Durgastuti. Shyama Sangeet appeals to the common man because it is a musical representation of the relationship of eternal and sublime love and care between the mother and her child. It is free of the common rituals of worship and also the esoteric practice of the Tantra. A notable singer is Pannalal Bhattacharya.

Atulprasadi, one of the major lyricist and composers of early-modern period, is also widely popularin Paschimbanga. Atul Prasad is credited with introducing the Thumri style in Bengali music. His songs centred on three broad subjects: patriotism, devotion and love.

Prabht Sagiita also known as Songs of a New Dawn and Prabhat Songs, are songs composed by Prabhat Ranjan Sarkar. Sarkar composed a total of 5,018 songs including the lyrics and the tune, in a period of eight years from 1982 until his death in 1990, making using of eight different languages: Bengali, Hindi, English, Sanskrit, Urdu, Magahi, Maithili and Angika.

Numerous other poets and composers had laid the foundation for the rich repertoire of Bengali music in the 19th century and early 20th century. Some stalwarts of this ear include Ramnidhi Gupta (commonly known as Nidhu Babu), Lalon Fakir, Atulprasad Sen, Dwijendralal Ray, Rajanikanta Sen and a large canon of patriotic songs from India's Independence movement.[9]

Notable Bengali music composers active in Calcutta (Kolkata) in the 1930s through the 1980s include Himangshu Dutta, Kamal Dasgupta, Rai Chand Boral, Pankaj Kumar Mullick, Anupam Ghatak, Sachin Dev Burman, Rahul Dev Burman Nachiketa Ghosh, Hemanta Kumar Mukhopadhyay, Salil Chowdhury, Sudhin Dasgupta, Shyamal Mitra, Kabir Suman, Nachiketa Chakraborty, Ajoy Das, and Bappi Lahiri, while Pranab Roy, Gouri Prasanna Majumdar, Kabir Suman and Pulak Bandyopadhyay were well-known lyricists. Jeet Ganguly is a modern music composer of Bengali film songs and Bollywood songs.

Western influence has resulted in the emergence of the phenomenon of Bengali bands, both in Dhaka and in Kolkata, as well as songs reflecting the joys and sorrows of the common man, Jibonmukhi Gaan (songs from life), which was inspired by Kabir Suman. Bengali bands became popular with young people in the 1970s, both in India and Bangladesh, and have since become entrenched in modern Bengali culture. Recently, traditional folk-based Bengali songs are also being released by bands.

Kolkata: A R Rahman's rendition of a popular song of legendary Bengali poet Kazi Nazrul Islam for the latest Bollywood release 'Pippa' has kicked up a storm on social media. The common people and the litterateur's family expressed outrage over the distortion of the rhythm and tune of the song, demanding that the new version be removed from public domain with immediate effect.

The rendition of 'karar oi louho kopat' (Iron bars of a jail) was released in war movie 'Pippa', starring Ishaan Khatter and Mrunal Thakur in lead roles. Following the song's release, many took to social media to express their outrage over A R Rahman's rendition.

Nazrul's grandson and painter Kazi Anirban said that his mother had given her consent for using the song for the movie but not for changing the tunes. The way the song has been dished out with the change in rhythm and tunes is shocking," he told PTI.

Popular Bengali singer Haimanti Shukla said sentiments have been hurt by the "act of sacrilege". "I wonder how a composer like AR Rahman could make this happen... No such tinkering with songs of Kazi Nazrul Islam can be allowed. It is shameful for the Bengali singers who were part of the rendition. I am deeply outraged," she said.

The lyrics of the song was first published in 'Banglar Katha' magazine in 1922 and was included in Nazrul's book of poems 'Bhangar Gaan'. It was first recorded in 1949 by a famous label and then in 1952 by another record label.

The rendition also created a social media outrage, with netizens wondering whether Rahman did research before dishing out the song. Historian-researcher Chinmoy Guha, however, criticised the outrage, claiming that Bengalis are expressing ire despite seldom caring to read or listen to Nazrul's works. Rahman, however, could not be contacted for remarks on the controversy.

(With IANS inputs)

Written and composed by revolutionary poet Kazi Nazrul Islam, it is one of the strongest protest songs in Bengal. Many still get goosebumps while listening to it due to its powerful lyrics and heart-touching melody.

There is something undeniably delectable about a folk song that teases recipes from the mangrove forests of the Sundarbans: waterlily cooked with garlic; hilsa combined with tart, fleshy sherbet berries and fried with fragrant fenugreek. Reading these words in Bengali you cannot help but picture a homecook hunched over a ground oven, maybe humming a tune, as mesmerising smells waft off the smoking pan.

Bengal has a wealth of such songs, each recording in verse an insight into the culinary culture of the state. It could be a farming practice or a recondite recipe. A metaphor or a recommendation. A lament or a praise.

Take for instance the genre of folk songs called baromashi or baramashya, which translates to ballads or songs of the 12 months. Predominantly built around the themes of love and longing, there are a few baromashi that centre on food, especially seasonality. In one baromashi alone you can sometimes find instructions for the entire year.

One such song suggests eating mangoes and rohu fish in the month of Chaitra at the onset of summer, mangoes and java plums in Jaishth, ripe jackfruit in the monsoon month of Ashadh, and ripe Palmyra palm in Shravan. Bhadra is the time for mature betel leaves, this song says, Ashwin for sweet jaggery and Agrahayana for a meal of newly harvested rice with chyang machher jhol, a curry made with snakehead often found in the flooded paddy fields of rural Bengal. Eat radish and puffed rice in the month of Poush, the song says, ripe bananas and rice cakes in the month of Magha, and mature brinjal along with hyacinth beans in Phalgun. A different version of the baromashi, which is popular in Purulia, replaces chyang with magur, a catfish often caught in paddy fields.

Rice, the principal food crop of Bengal, gets considerable attention in baromashi. One such song goes: Ashadh maashe shonar dhaan, shonar phoshol phale, Shrabon maashe aaush dhaan jor haste te tole, Bhadro gyalo, Ashwin gyalo, Kartike dyay shara, Aghryane khyater pore dyakhore amon chhawda. The lyrics describe a golden crop flourishing in the month of Ashadh, the aush paddy being carefully harvested in Shravan, Bhadra and Ashwin passing by, and with Kartik arriving the harvest season. Finally, in Agrahayana, fields ripple with Amon dhan or winter rice.

In another song, documented by scholar Chittaranjan Deb in his book Banglar Palligiti, the wife of a poor bonded peasant beseeches him not to leave her behind as he prepares to go off to faraway lands because she is afraid she will have to endure unfamiliar hardships in his absence. Deb says songs like this transcended religious boundaries to embrace universal themes and were sung by peasants of all faiths, be they Hindus, Muslims or Christians. This syncretism is coursing through this song too: it begins with a plea to Allah and ends with a reference to Lakshmi.

Search and you will find a song in Bengal for almost all aspects of food, including food preparation. There are songs called chire bhanar gaan, for instance, that are sung while flattening parboiled rice to make chira. In some Bengali homes, women sing songs on special occasions while preparing a confection called ananda nadu with rice flour, sesame and jaggery. Writer Kalyani Basu has recorded one such song in her iconic book Thhod Bori Khanda:

This beautiful song features the unique singing voice of Geeta Dutt. She remains one of the most prominent Bengali artists of the 50s and 60s with a number of film and non-film songs. She also contributed to the Bollywood industry with over 1,400 songs recorded for Hindi movies.

This Bengali song illustrates how Western music is influencing the Indian entertainment industry. Even though Aritra Banerjee sings in Bengali, the tune could appear on a pop album recorded by a US artist.

Bangladeshi singer Khilkhil Kazi, another granddaughter of the poet who is living in Bangladesh, told local media in a video message that any tinkering of the tune of such a cult song is just not done.

She said, "We have been running the Nazrul Academy in Bangladesh for 18 years. We cannot allow any such thing to happen. The original music of the song can very well be seen on YouTube. How come someone plays with the tunes by redoing a warrior song like this as a film song accompanied by dancing?" Khilkhil said she is scheduled to visit Kolkata on November 12 and she will meet singers and artists next week to voice their protest against changing the song's tune. ff782bc1db