n 1981, the then 20-year-old Somjit Dasgupta, a disciple of legendary classical musician Radhika Mohan Maitra (Radhu Babu), was chosen as the custodian of his guru’s vast collection of musical instruments. These instruments were part of Radhu Babu’s old Zamindari court at Rajshahi, located in the present day Bangladesh.
The collection of over 200 musical instruments of 28 types, some of which according to oral history are hundreds of years old, have all been preserved by Dasgupta’s labour of love spanning nearly 35 years.
Dasgupta, who has added to the collection by hunting down old string instruments from across the country, said he was quite surprised to hear from Radhu Babu’s lawyer about his priceless musical inheritance. However, the thrill soon faded once confronted with the problem of accommodating the instruments in his three-room Kolkata flat.
“When my guru was asked who would carry forward the legacy, he said he was not in search of a mahapurush but someone with strong shoulders…someone who will be able to carry forward the legacy like a camel crossing a desert, as he predicted that bad times were coming for Hindustani classical music.”
Radhu Babu had said the best years for Hindustani classical music would come to an end in the 1980s and culture would need to be preserved so that the 6,000-year-old tradition continues and makes it through the upcoming rough patch of 50-60 years. Dasgupta’s guru felt the only way Hindustani classical music could be kept alive was through devotion, love and faith of individuals since the democratic government would not be able to keep it alive.
One to speak without mincing words, he said democracy was anti-soil and anti-people, and would do nothing to help with cultural progress. He said it was up to individuals and personal efforts to keep traditions alive.
The collection now lies in four to five flats in Kolkata that belong to Dasgupta’s family. “I have been doing alone for 35 years what large museums and conservatories do, with the small amounts of money I make through concerts, teaching and research grants, and help from friends,” said the musician.
Dasgupta said he is often asked who will carry forward the heritage after him. “I remember my guru’s words — that the government will do nothing and it will be up to the individual to take this forward. I have had a very bad experience with the Central government in keeping this legacy alive when they approached me. I believe it will be through the efforts of listeners of Hindustani classical music that this legacy will be kept alive.”
He added that a lot has been done abroad to document the musical legacy of Radhu Babu, but he remains an unsung hero in his own country.
Radhu Babu’s birth centenary falls on February 13, 2017, and Dasgupta hopes that with contributions from well-wishers, admirers and followers they will be able to publish some books, recordings and have a good showcase of the entire collection of instruments. Dasgupta’s ultimate goal is to not have a museum-like display of instruments.
Instead, he dreams of a musical conservatory named after Radhu Babu, which will have anecdotes and technical information about each instrument. The space, he said, will be designed in way that people will be able to come in, hear the instrument being played and learn to play them so that the music can be kept alive for generations to come. A living archive of the rich tradition that he has been carrying on his shoulders.
Some instruments from the collection, according to oral history, are hundreds of years old
