Reliving the uprising of Bangladesh

While most cultural programmes I attend in the months of February and March seem to revolve around the themes of the 71' Liberation War, Joltogongo's musical programme yesterday was much like the others, however, it had much more to offer.

A treat to the ears and eyes, the musical programme began in the evening at Chhayanaut's main auditorium with a small welcome address by the troupe's members and visiting special guests.

Nevertheless, I felt as though I was teleported back to the 1600s the instance the main soiree began.

Beginning the performance with a beautiful introduction to Bengali culture and heritage, the performance soon took a turn as the focus shifted towards the British Raj -- a time when colonialists left no stone unturned to break our confidence by looking down upon our identity.

While there were no actors enacting the rebels or the rulers, the scenario still vibrantly popped up in front of my eyes as the performers, in chorus, presented the song, "O Amar Desher Mati", a number probably all Bangalees know by heart.

As the story took its course, so did the narrator and the performers.

Setting the background with poetic verses, some picked up the memorable tracks "Gayer Bodhu", "Amar Bhaiyer Rokte Rangano", "Purbo Digante", "Ekbar Bidai De Ma", "Ekla Cholo Re" and "Ek Nodi Rokto Periye", amongst other patriotic and Gano Sangeet tracks. A few also took turns to recite verses by rebels and poets.

Alongside the phenomenal coordination among performers, instrument (both traditional and modern) players, and technical hands, the thing that stood out to me the most was how people from different age groups, backgrounds, religious practices, and gender identities showcased their love for their motherland through music -- a common note that tied them all. 

Ramisa Chowdhury, a transwoman, shone brightly in the background while Zakir Hossain Tapan, Masuda Khan, Mohua Samaddar, Ena Roy, Tanvira Ashraf Shyama, Shantanu Saha Roy, Shefta Alam Adity, Alpana Banerjee, Humayun Rezwan, Swapna Nandi, and Ranjit Roy, among others, each took turns to lead the performance.

As the performance walked down the memorable events that founded the formation of this nation, the feeling of being transported back overtook my mind, as if I was actually there, a face in the crowd when Khudiram was being hung, a voice screaming "Joy Bangla" and marching the streets of Dhaka university with Salam and Barkat, a pair of hands crisping up on Bangabandhu's call at the Racecourse Maidan on March 7 and finally, with a set of teary eyes when Bangladesh was declared independent on December 16.

The memorable evening ended with "Amar Shonar Bangla" -- a performance that all, including me, proudly joined after such a striking recall. 

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