From popular songs and movie scenes to ancient scriptures, the significance of the Dhak, the local membranophone instrument, is evident in a multitude of media. The maddening bits of the Dhak herald the arrival of Durga Puja, the beginning of a new Bengali year or other such auspicious occasions and invite positive energy to bless everyone.

The Dhak is the epitome of quintessential Bengali music, but how are the Dhakis—the ones who have kept this art form alive for generations—actually doing?

"We are unable to survive in the current circumstances. During the COVID-19 pandemic, all events were closed and we had no work. Government aid barely reached us. There was no one beside us. We took to farming and driving easy bikes to support our families," says Ganesh Biswas from Bagerhat, who is playing this year at the Ramna Kali Mandir.

Photos: Shahbaz Nahian

The Mandir is bustling with people from all walks of lives, who are immersing themselves in the joys of the festival. There are people from multiple religions, proving once again that Durga Puja is a festival beyond the borders of beliefs. Young kids are dancing to themselves, and the adults can't help but feel the nostalgic joy of their own childhood.

One of the key factors of this festive ambience, is the music that Ganesh and his team create. Ganesh explains that this is an art form that has been passed down for generations, and usually all Dhakis bear this legacy. However, despite their love for their art, he fears this profession is somewhat endangered.

"We play in jatras, pujas and weddings. However, for around four months a year, we barely get any work, as the frequency of events plummet," says Ganesh. He also says that during the COVID-19 pandemic, life became unbearable for him and other Dhakis. He explains that such dire economic situations might compel the next generation of Dhakis to leave the profession, something which he deems as extremely unfortunate.

There is an additional threat that keeps him anxious as well. The growing intolerance among religious communities brings many challenges and perils to their lives. He explains that vandals used to harass women from his community and hijack their jewelleries.

Since then, they have started living nearby, ensuring the support of fellow community members. This has compelled their political representative to heed to their concerns as well. In their own nonviolent and indeed harmoniously melodious way, the Dhakis refused to bow down to pressure.

Metropolitan Central Puja Pandal, the one on the premises of Dhakeshwari Temple, is one the largest pujas arranged this year. Shanti Ranjan Das, the head of the team of Dhakis, has been playing at this festival for almost 35 years. Despite his experience and mastery, he is extremely humble when speaking about it. "What do I explain in words? I can only talk in the language of the Dhak."

Indeed, his Dhak speaks a lot. When he starts to play, the entire pandal sparks up with festivity and excitement. The Dhuna dance begins, and adults and children alike take part in it to rejoice.

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But the inner life of Ranjan Das is certainly not as joyous. He reminisces the old days, when he could go to multiple regions. "I'm old now, I am not strong enough to play as much. I'm a poor man, I survive on what I get," he says with a sigh.

When asked if Dhakis can collectively voice their demands, he smiles for a bit and replies, "What can we ask? Whom do we ask?"

Ranjan Das brings happiness to the entire pandal, yet he has no solution to his problems.

Dr Taposhi Ghosh, head of the Cultural Committee of Metropolitan Central Puja Pandal, explains the significance of the Dhak. "According to the Shakta tradition, the Dhak is the symbol of auspiciousness.

Hence during Durga Puja, Kali Puja and other festivals, the Dhak gets priority. However, despite the evident religious and cultural significance, the remuneration structure of Dhakis is extremely poor.

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Ranjan Das was right in his despair about expressing demands. "There are no separate foundation for Dhakis, and even though there's an organisation for musical instrument players, Dhakis never get a priority in their schemes,'' says Dr Taposhi.

The impending situation this structure is creating will be catastrophic for Bengali culture.

"Even though this has been going on for generations, this profession will be endangered if we don't support them. If we want our communities to survive, we need to ensure their economic well-being," added Dr Taposhi.

Laalmohon Moni Das has been the Dhaaki of Dhakeshwari National Temple for the last 55 years. An old, fragile man, the reflection of his dire economic status is prominent in his appearance.

However, his eyes light up with pride and hope. He says he feels blessed as he could spend his entire life in the premises of the temple, serving humans and Gods alike.

The Dhakis are all similar in their love and dedication to the art form. Unfortunately, economic turmoil is common in all of their lives as well. It is high time we asked ourselves if the bearers of our cultural heritage deserve to be treated like this.