Sanjida Khatun: The melody of a movement
Agartala April 4: Worship, love, patriotism, and consciousness converge in Sanjida Khatun, forming a complete, enlightened embodiment of these ideals.
To speak of Rabindranath Tagore’s songs is to explore a vast musical treasury spanning from his fiery teenage composition at fourteen—“Jwal Jwal Chita Dwigun Dwigun”—to the works crafted in his eightieth year. This is no fleeting achievement.
At times, lyrics and melodies emerged in unison; at others, poetry preceded the tune. Sometimes, the gaps within a song’s melody were filled with words, birthing new poetry, while on occasion, a secondary composition was adorned with a tune to create an entirely fresh song.
Beyond these diverse creative processes, Rabindranath evolved from his early self into a garland of varied personas by the end of his life. Thus, his songs reveal a multitude of Rabindranaths, each distinct yet bound by an intrinsic unity—a diversity born from the interplay of environment, circumstance, and necessity.
Just as a person transforms over a lifetime, so too did Rabindranath’s creations unfold progressively.
Sanjida Khatun perceived him in this light, and it is this understanding that elevated her to a towering presence—a Chhayanat Mahiruh, a great tree—in the realm of Rabindranath’s legacy.
Though Chhayanat belongs to many, it is synonymous with Sanjida Khatun. This realization fueled her actions, which I could only observe from a distance, leaving me with a pang of regret for not experiencing the world of Rabindranath’s practice firsthand, despite its proximity.
Her ties with Agartala stretch back decades. Historical accounts reveal that at the onset of Bangladesh’s Liberation War, Sanjida Khatun journeyed from Rangpur to Dhaka. From there, she traveled through Savar’s Jirar village to Dhaka, eventually crossing into India via the Comilla border alongside several cultural activists.
They paused briefly in Agartala before she entered Kolkata on May 5, 1971, where she began rallying cultural workers in support of the war effort. Years later, in 1998, she graced Rabindranath’s birth anniversary celebration at Chhayanat’s Rabindra Bhavan in Agartala’s Amrakunja.
At the behest of Padma Gomati, she joined a discussion at the Press Club. In 2005, she led a Rabindra Sangeet workshop organized by Ravi Sudha.
In 2012, she was honored with an invitation to receive the “Panthajan Sammanana,” but frail health prevented her from accepting it in person; Chhayanat members collected the award on her behalf.
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Among the many accolades bestowed upon her by Bangladesh and India, the Padma Shri from the Government of India and the Deshikottam from Visva-Bharati University in Shantiniketan stand out.
To truly know Rabindra Sangeet, Chhayanat, and Sanjida Khatun as a singular entity, one must glance backward. From her earliest days, she stood boldly against injustice.
As a college student, she balanced academics with recitation, acting, singing, and organizational work. Born on April 4, 1933, Sanjida Khatun was the daughter of Kazi Matahar Hossain, a national professor, and Sajeda Khatun.
Reflecting on her childhood, she once shared, “At dawn, my father would pace the house, singing songs of Rabindranath and Nazrul. Before attending a literary gathering for Ekushey February, he immersed himself in Rabindranath’s works.”
Sanjida’s musical journey began with Nazrul Geeti, modern Bangla songs, and folk music under Sohrab Hossain’s guidance. She later honed her Rabindra Sangeet skills under Husne Banu Khanam, followed by masters like Shailajaranjan Majumdar, Abdul Ahad, Kanika Bandyopadhyay, and Nilima Sen.
In 1954, she earned a degree in Bengali Language and Literature from Dhaka University, followed by a postgraduate degree from Visva-Bharati in Shantiniketan and a PhD in 1978.
Her professional life began as an educator, but Rabindranath remained her lifelong companion. Through Chhayanat, she embraced the mission of bringing his works to the masses.
Her influence reverberates not only in Chhayanat but also in the National Rabindra Sangeet Sammelan Parishad, the Bratachari movement, and recitation collectives like Kanthashilan.
Poet Shankha Ghosh captured her essence: “Singing is not her profession—it is her life, a life interwoven with those around her. I first glimpsed her identity on Dharmatala Street, seeking the nation’s soul through Rabindranath’s songs.
Now I see she searches for her own soul within them.” Debesh Roy described her as “revered for her intellectual depth,” while Anisuzzaman hailed her as “a testament to a creative existence.”
