By Abdul Gani, TwoCircles.net,
Guwahati: He is very popular and widely respected in Bangladesh. A household name in the world of Baul sangeet, Maqsoodul Haque – whose roots are from Assam – has also been able to leave a mark in this part of India with his mesmerizing performances.
Haque, popularly known as Mac is the band leader of the Bangladesh-based jazz-rock fusion band ‘Maqsood O’ dHAKA’ established in 1997. He has a significant contribution to Bangla Rock music and was instrumental in organising the open air concert in Bangladesh in 1990 for the first time in its history. Popular among people on both sides of the border, the bard is more than eager to play a vital role in bridging the cultural gap.
Maqsoodul Haque
In an exclusive chat with TwoCircles.net, Mac shares his experience and his future plans. Excerpts:
Q. You have been very well connected with people on both sides of the border. There are lots of political differences between the two sides. How do you see it?
A. The biggest difference is that we know very less about each other. People in Bangladesh hardly know about this part. For them, India means West Bengal, Delhi, Mumbai and a few other cities. They have no idea that India’s northeast has to offer a lot in every aspect.
Likewise, people here have very little knowledge about Bangladesh. This has created lot of problems and I think there is lack of political will. We have been hearing of connectivity but in reality nothing has happened. There are plenty of possibilities. Like I have come here, I want cultural people from here to go and participate in large numbers there at Bangladesh. There are possibilities in theatre, in cinema and of course, the exchange of television. No one here can view Bangladesh television channels and likewise, in Bangladesh, none of the television channel from northeast India is available. Such exchanges can bring a huge change. As a musician, I will be more than happy to play a role in this regard.
Q. Tell us about your connection to India or Assam? Why you love coming to this part?
A. My fans in Bangladesh might get hurt but the reality is that I’m an Assamese. Both my parents were Assamese from Jorhat town, who left Assam in 1952 five years before I was born. My first wife, who passed away few years ago, too was an Assamese. So, very often I keep on coming to this place.
Q. What are the differences you feel between the old or the pure form of Baul Sangeet and the new version of fusion with more usage of technical stuff performed at the stage? Has the original form lost its sheen somehow?
A. I don’t think that there is much difference between the two forms. Our mission and the message the songs want to convey is all the same. We might have taken a different way but the message is same. We still need to know the origin and to be with the Gurus even if we want to do fusion.
And for the form of music which is learnt through ‘Áakhra’, you have to create a bunch of audience with that taste. But at the end of the day, whatever the form may be, the audience will try to know the original form.
Q. You are here to perform the Baul. Do you think people here are used to this kind of music?
A. Music is a universal language. Even when we listen to a Chinese song, we understand whether it is a song of pain or happiness. As my roots are from this region, I don’t think the people of the region find it difficult to understand the essence of Baul music. Here, they have saints such as Srimanta Sankardeva and Ajan Fakir and in Bangladesh, they have Srimanta Chaitanya Dev and Lalon Fakir. Their motto was humanity, which is above religion. Baul sangeet is all about that. Earlier also I have performed here. It was not much difficult for me to get connected through the Baul music with the audience here.
Q. How can this form of music be embraced by common people and integrated with day-to-day life?
A. Baul can be traced back to many centuries. This kind of music tries to give you a different kind of philosophy which is far above than your personal or political identity. It deals with the humanity. Baul is not interested if you are a Hindu, Muslim, Christian or Buddhist or an atheist. It does not believe in boundaries either but regards the globe as one. The craze for this has always been there in Bangladesh and elsewhere.
In 2005, the Baul tradition was included in the list of ‘Masterpieces of the Oral and Intangible Heritage of Humanity’ by UNESCO. Note that it’s for humanity, not of Bangladesh or any other country. At present there are around more than 100 such bands who sing Baul Sangeet. Then there are certain musicians whom we cannot regard as Baul technically, but they are widespread across the country.
Q. On many occasions, we have seen that the Baul sangeet has played a major role in unification. What kind of role it is playing now?
A. We have suffered a lot due to the religious fundamentalists, who have created trouble for the humanity. We want to get relief from this division in the name of religion, caste and creed. In the hour of crisis, the Baul sangeet has played a crucial role especially in the time of separation.
The religious fundamentalists confuse people. They would define the religion according to their own interests and which have no relation to the religious books.
The kind of things which are going on not just in Bangladesh but everywhere such as ‘killing a Hindu would please Allah’ or ‘killing a Muslim will satisfy God’ is being done by some insane people. We want to get rid of this ill-mentality. I think the Baul sangeet can be crucial in this mission.
Q. What is your role in taking Baul sangeet to the global platform?
A. I have been trying all the years according to my limitations. It’s been 27 years or so. But there is much more to learn.