Kalikaprasad Bhattacharya: The Timeless Bard of Bengal’s Soul
On the birth anniversary of Kalikaprasad Bhattacharya, we pay tribute to the legendary folk musician whose timeless work revived the rich heritage of Bengali folk music. Discover the life, legacy, and undying passion of ‘Kalika Da,’ whose melodies continue to resonate across generations
Each time I listen to songs like ‘Aage Ki Sundor Din Kataitam’, ‘Chol Mini Asam Jabo’, ‘Khejur Gache Hari Badho Mon’ or ‘Ekbar Nacho Ma’ – they feel as fresh as ever. These folk songs, rejuvenated with a contemporary touch, owe their timeless charm to none other than the beloved Kalikaprasad Bhattacharya.
Writing about Kalikaprasad Bhattacharya on his birth anniversary feels like an intimidating task for someone like me. Yet, with the limited knowledge I possess, I humbly attempt to pay tribute to this remarkable individual.
Born on the 11th of September, 1970, in the town of Silchar, Assam, Kalikaprasad grew up in a family steeped in music. From a young age, he was deeply drawn to the world of folk music. His uncle, Ananta Bhattacharya, a passionate collector of folk songs, had amassed a collection of over five thousand folk melodies. Inspired by his uncle, Kalikaprasad began his journey into the realm of folk music. After completing his education from local school, he graduated in Arts from a colleges in Silchar and moved to Kolkata, where he enrolled at Jadavpur University to study Comparative Literature. In 1988, armed with a Full Scholarship from the ‘India Foundation for the Arts’, he embarked on a journey to Bangalore to delve deeper into the study of folk music.
By 1999, the Bengali music scene was dominated by the rise of Bangla bands, with their life-affirming, hard-hitting, and alternative rock styles. Kalikaprasad, however, chose to row against the tide. Along with a group of friends, he formed a band in Kolkata with the aim of reviving the folk music traditions of North Bengal and Eastern Bengal. Their repertoire included Baul, Bihu, Bhawaiya, Jhumur, and Sylheti Bengali songs. Under the guidance of their mentor, Avik Majumdar, the band was named ‘Dohar’—a term from the tradition of kirtan performances, where singers join the lead vocalist to repeat the final line of a song. Accompanied by traditional instruments like the Dotara, Sarinda, Shinga, Gubgubi, Dhol, Dhak, Khanjani, Esraj etc. ‘Dohar’ stood in stark contrast to the prevalent musical trends of the time.
In 2001, ‘Dohar’ released their debut album ‘Bandhu Deshe’, featuring nine songs by Baul singers like Hasan Raja, Shah Abdul Karim, and Sheetalang Shah, with Kalikaprasad as the lead vocalist. Through this album, Kalikaprasad became fondly known as ‘Kalika Da’ in the hearts of Bengalis. A string of albums followed, including ‘Bangla Gaan Shikorer Tan’, ‘Rupasagore’, ‘Banglar Lokgaan’ which have since become timeless classics.
After the passing of his uncle Ananta Bhattacharya, Kalikaprasad took on the task of preserving and researching the five thousand folk songs in his uncle’s collection. Each song, he believed, had a story behind it, and he was driven by a desire to uncover these hidden tales and reach the very source of the music. He also embarked on the project of creating an archive to preserve this invaluable cultural heritage.
Kalikaprasad’s dedication wasn’t limited to folk songs alone; he was committed to bringing the folk artists themselves into the limelight. He trained many such artists on popular Bengali music reality shows, guiding them to the threshold of success.
Whenever Kalikaprasad received a call from across the border in Bangladesh, would rush over with his band to perform folk songs for the audiences there. In 2013, during the movement in Bangladesh demanding the trial of war criminals, he penned the song ‘Shahbag Dichche Dak’ in support of the cause.
Kalikaprasad’s heart and soul were forever devoted to the folk songs that resonated with the heartbeat of rural Bengal. His research into the origins of folk music and instruments was extensive. One anecdote that comes to mind dates back to a time when ‘Dohar’ was still in its infancy, barely twenty years ago. The band had just begun to stand on its own, and Kalikaprasad was performing at a music event on the boulevard in front of ‘Gitabitan’ on Priyanath Mallick Road in South Kolkata. He took to the stage with a large ‘Dhamsa drum’ a gift from a Santal community in Chotanagpur. Preserving such traditional instruments, many of which were on the verge of extinction, was a significant part of Kalikaprasad’s mission with Dohar.
Kalikaprasad’s music often echoed themes of harmony and unity. One song that stands out is Shib Baba, which begins with the lines:
“Pubere Bandana Kori Surjer Ghor
Asio Baba Guru Murshid Gaaner Asor.”
Here, he invokes a Muslim guru after a prayer to the Hindu deity Surya. Just two lines later, he sings:
“Pashchime Bandana Kori Mokka Balustan
Charidike Sudhijone Janaai Salam.”
In this, he honours the sacred site of Mecca. The song even includes a call to the goddess Saraswati, reflecting his deep-seated belief in religious inclusivity.
Kalikaprasad wished for Bengali folk music to transcend the boundaries of Bengal and resonate in the hearts of people who spoke different languages. Just as the Punjabi folk dance ‘Bhangra’ has become globally popular, he envisioned Bengali folk songs spreading across all states and even beyond the borders of the country.
In later years, Kalikaprasad ventured into playback singing for films. His contributions to Gautam Ghose’s ‘Moner Manush’, which won the ‘Golden Peacock’ Award, and Srijit Mukherjee’s ‘Jaatishwar’, which received the ‘Rajat Kamal’ Award, are particularly noteworthy.
On the 7th of March, 2017, Kalikaprasad’s life was tragically cut short in a road accident, marking the end of an era in Bengali folk music.
Kalikaprasad Bhattacharya was not just a folk musician; he was a scholar of folk music. Through his work, he will forever remain etched in our hearts. To consider him merely a person would be a mistake; he was, in himself, an institution.
On behalf of East India Story, we pay our deepest respects and love to Kalikaprasad Bhattacharya.
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