Expanding our cultural horizon

Various factors have been identified and stressed at different times to determine the scope and extent of our cultural background. The degree of fluidity and the indeterminate nature of its definition have however meant that Bangladesh despite an active cultural scene, has been unable to truly project its rich heritage. The most disappointing aspect has been the impact on cultural institutions with every change of government. Philosophical differences have ended up in drastic transformations of personnel management.

It is time that we establish a matrix and try to really agree on some fundamentals. Such an exercise should carefully examine the different elements -- starting from the manner in which we express our salutations to important factors like language and literature and the philosophy that encourages art, sculpture, music and folk-lore. This is necessary for establishing a common ground.

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Having decided on least common denominators, we could then try to include different facets. This is important because the national language of Bangladesh and 21 February are both part of the world cultural inheritance. The fact that UNESCO has declared 21 February to be the International Mother Language Day makes it incumbent upon us to be able to project to the rest of the world an agreed and basic culture that sets apart people of Bangladesh from the rest of South and South East Asia.

The Bangladeshi ethnic consciousness that has inspired the gradual evolution of its culture is based on a mosaic that includes the rural background of its population. It is reflected particularly in its pristine literary forms, its poetry, its music, its songs, its musical instruments and choreography in dance forms. It is here that we need to look for common and accepted links.

This short article is a very superficial appreciation of some of the non-controversial elements in our nation's cultural map. We can probably stress these aspects at the time of the projection of our culture.

There can hardly be any debate about the sources of our musical tradition. It goes back hundreds of years. All connoisseurs know that from ancient times there have been two styles in our music: one is the margyo or the classical and the other is the deshi or the folk music. Classical music emphasises the play of the ragas and the tunes rather than the play of words and phrases to express feelings. On the other hand, folk music lays equal emphasis on words and music and reflects the feelings of the common people. All of us can at least agree that both the classical and folk music of Bangladesh have developed from the ancient rural civilization of Bengal and from the tradition of solo performances by artistes.

By nature, we are emotional and music has been the most common form of expression of our feelings. It may be recalled here that the oldest form of music in Bengal that has survived with modifications until recent times is known as charya geeti. Sculptures and terracotta reliefs in buildings depicting dancers and musical instruments suggest that there might have been other musical forms, but unfortunately they have not survived.

One thing is however quite clear. From the times of the Mauryas and the Guptas, what is now Bangladesh has seen a flowering of culture and the development of classical and folk music on a parallel track. Historians have also noted that it was quite common not only for mutual exchange of ideas between the classical and folk music but also between what was practised in the then Bengal and its adjoining regions. Strains of Charya geeti, Geetogovinda, Krishna kirtan and Mongol geeti (devotional hymns) found their way into the musical repertoire of what is now Myanmar, the North Eastern States of India and Thailand. In fact, there are great similarities in the musical structures of Indonesian devotional music of Bali and that of Bengal.

The parting of ways between the music practised in Bengal and the neighbouring regions came with the advent of the British in India. From nineteenth century onwards, with the influence of western education and culture, the music of Bengal became more diversified and richer in content. This was largely due to the contributions made during this period by musicians of great talent. In fact, one could say that the modern era of music of what is now Bangladesh and the State of West Bengal in India dates from the time of Ramnidhi Gupta (famous for his tappa in early 19th century) and reaching its peak later that century and in the early 20th century at the time of Rabindranath Tagore and Kazi Nazrul Islam.

There are other musical expressions in Bangladesh where there need not be any dispute. Here one would like to refer to rural poetic songs like the Kabi gaan, Jatra gaan and the Baul gaan. These are extremely popular forms of entertainment in the rural areas of Bangladesh. They are particularly liked because such art forms rely on inter-action between more than one person. Consequently, being practised in groups, they could form the core for musical troupes going abroad.

One can now turn towards poetry and art. Unfortunately, for the last decade we have seen preferences being given sometimes to certain artistes and litterateurs, irrespective of their true abilities. These selections are made more on the basis of perceived political affiliation. This has impaired our image in the world. We should try to avoid this. This affects our ability to present the best amongst us in the international arena.

Time has now come for us to expand our horizons. It is in this context that we need to try to project ourselves abroad. We have to try to erase the pernicious after effects of being known as a country where in this day and age, men go around throwing acid on innocent women and girl children. Our image today is really very disappointing. We head the list in matters of corruption and are continuously being battered with suggestions that good governance is mostly absent. Quite often we also get lectured on by country or groups of countries about non-observance of fundamental human rights.

We have embarked on a path where we are seeking deepening of economic cooperation with countries in the East. We need to also consider whether there can be expanded cultural cooperation with these neighbours. Having started near home, we could possibly think also of entering into more intensive cultural cooperation in the fullest sense of the term with other South Asian countries. We have SAARC and South Asian sports competitions, but one does not really hear of South Asian cultural festivals and competitions. Bangladesh can take the lead here.

Then comes the western group of countries, particularly those in Europe, North America and Australia. Since our independence, over the last three decades, hundreds of thousands of people of Bangladeshi origin have moved their residences to these areas. In many cases they are full citizens of countries in these regions, but they retain their affection and linkage with their motherland. It is important that we evolve a national policy whereby we enter into cultural framework agreements with those countries where we have a fair representation of Bengali speaking citizens.

It today's electronic age, Bangladesh is inundated with external influence and aspects of foreign culture starting from toiletries to music and art forms. Unfortunately, we are unable to project our own culture into homes abroad due to inadequate resources. Consequently, the importance of our language and our culture fails to get the desired exposition.

Comparatively, India is more successful. Today her traditions, mores and ways of life are easily recognised. Her authors and artistes, be they involved in music, poetry, novels, painting, sculpture or cuisine represent South Asia as far as the West is concerned. Their corporate sector assists in this endeavour. After India, in terms of cultural recognition comes Sri Lanka and then Nepal.

We stand marginalised today, to say the least. Yet, it is our language that has been chosen by UNESCO. We are lagging behind because we are not making full use of our potential, Gaining wider respect and admiration for our literature, art and music will require hard work, but it can be done.

This can start with a careful examination of what we have, what we want to achieve and what we need to do to get there. Unfortunately, the existing infrastructure lacks the capacity to take us forward.

The Bangla Academy, staffed with some dedicated individuals lack adequate resources for undertaking research or translating into English, French or German important Bengali publications. Rare books and manuscripts are preserved under most unsatisfactory conditions. There is very little inter-action between those working in this Institution and in similar Institutions abroad. There are very few cultural exchange programmes whereby individuals from this Academy can go abroad for training. It is a similar situation in the Shilpakala Academy.

There is scope for us to benefit from international cooperation in culture. The European Union and many other countries, if approached, could become our partners in this field. UNESCO has indirectly opened the portal for us.

It is true that every Government in Bangladesh has tried in its own way to strengthen the infrastructures of our cultural horizon. However, while some progress has been achieved internally, it is still far from satisfactory.

We should learn from India, Thailand and Sri Lanka and analyse why their tourism industry and their cultural exposition have taken off in such a great way. In a large measure it is probably because they have been able to successfully export their own ethnic cultural image. We can do the same if we can work together without politicising what we possess.

Muhammad Zamir is a former Secretary and Ambassador.