Diganta Bharati: A musical sojourn

Since music is an oral art, it requires the amalgamation of feelings and emotions of various musicians. The emotional hub, which flourished in the old forms of production, is rare now.These days musicians working on the same track don't even meet each other at times. They come to record their part according to their own time and convenience.

Please tell us a little bit about yourself to our readers

My name is DigantaKalita aka Diganta Bharati. I was born in Nalbari. I have four siblings, two brothers and two sisters. I was exposed to an environment of music since my primary school days in my sister's house. Even my mom used to sing traditional folk songs. That's how I gained the musical influence and later went forward by teaching myself. My father's name is Arun Chandra Kalita and my mother's name is Bhagirathi (Bharati) Kalita. After my father died in 2003 I decided to add my mother's name to mine and wrote Diganta Bharati.

Give us a brief insight into your educational background.

I completed my high school from Nalbari Govt. Gordon Higher Secondary School. Then I shifted to Guwahati, undertook my Higher Secondary studies in Guwahati Commerce College, and pursued my graduation there too. However, I sat for the final year of Graduation exams from Nalbari Commerce College.

When did your musical journey start?

My musical career started when I was in school. I was the best singer in Nalbari Govt Gordon Higher Secondary School for three consecutive years. I was always fascinated by the harmonium and keyboard. My family always wanted me to be singer and I was more drawn to composing. I never thought that I would be a lyricist. Circumstances made me write my own lyrics, as there were times when lyrics penned by someone else were difficult for me to fit in the composition. That's how I started writing lyrics. I used to study books like Ratnawali, poems of AmbikagiriRaichoudhury, books of Nabakanta Baruah, etc., since a young age.

Shifting to Guwahati helped me to meet established people in the industry like Prabhat Sarma, ParthaPratim Chowdhury, DhrubajyotiPhukan, Dhruba Jyoti Sharma, etc. I learned a lot from them and received immense amount of motivation.

I never undertook any professional training in music. I used to study many books on classical music. However, during the later part I learned some raagas from Jay Prakash Medhi Sir.

Tell us a little about your association with films like Daag, Hiya Diya Niya and Jiban Nadir DutiPaar

I became familiar with the market of audio cassettes around 1991-1992. In 1994, Zubeen Garg came to Guwahati. Work on many audio recordings were going on in the city. In the later part of 1999, pre-productions of 'Hiya Diya Niya' and Zubeen's own film, 'Tumi Mur Mathu Mur' were starting. Zubeen Garg and I were working simultaneously on these two films. The offer for Hiya Diya Niyacame while I was working on Tumi Mur Mathu Mur. Except Zubeen, the other people in the project like Bhaimon da (Munin Barua) weren't aware about me.Zubeen suggested to the team, "Diganta could complete the work that I have left incomplete, as he composes himself and pens down lyrics too. In this way, there won't be any complications of names and credits. He can do the remaining work." This is how I worked along with Zubeen Garg in Hiya Diya Niya and Tumi Mur Mathu Mur, both of which became commercial hits. Daag, Kanya Dan, Bidhata, etc., followed. After that, I also worked with Samya Gupta, Bidyut Chakraborty, anddirector PranjalSaikia's projects.

What is the difference between composing for a film and making an independent album? Which do you feel is more challenging?

While producing or writing for an album, we can move freely with our thoughts and ideas. In case of a film, we are limited by the needs of the film's plot. We have to focus on the situation of the film for which we need to produce a song. We have to go through the screenplay, sit and discuss with the director and understand what the sequence demands. There are situations when the song is supposed to carry forward the story, like a time lapse. We also have to focus on selection of words as these have to match with the background and the character or protagonist. Whether they belong to a village, an urban or semi-urban locality, etc.,has to be taken into account while penning the lyrics. These are certain elements that we need to prioritise in a process of experimentation while producing for a film.

As for an album, we can stick to the word, 'indie'. It is solely independent. We don't always have to focus on drama as deeply as in the case of a film. We can just focus on the themes and emotions desired to be reflected through the songs. Therefore, we are able to explore freely.

Experiences with different artists are different. These memories are mostly formed during tours and recording sessions. The initial recording sessions will forever be memorable. Other than these, thewords of appreciation, which I received from various established Bollywood singers like Udit Narayan, Kumar Sanu, Mahalakshmi Iyer, Shreya Ghosal are very precious. Hearing words like "Bohotacchahuahai", "Itnakhubsooratgaana" will foreverremain etched in my mind. For the film, HiyarDapunotTumarSobi, which included music by Palash Ujjal Gogoi, I wrote and composed a few compositions. There was a song sung by Roopkumar Rathod, whose composition I recorded initially and forwarded to him. During the dubbing session, he commented, "The original sounds so good, why do you even want me to sing. Moreover, this is not even my mother tongue." Such moments are very memorable and inspiring.

You have worked with both Zubeen and Papon in RodorSithi, how did that feel? Tell us a little about that experience.

Protidinein RodorSithi was a heavy song, which I wrote in a very short time. However, Zubeen assigned me to write the song two months prior to the recording session. Even the music wasn't produced at that time. We were travelling together and he just hummed a short composition in front of me. He said to me, "Write a song, have a talk with Baharul Da and he will explain to you what you need to write about." One day Baharul Da called me and asked me if I have received the assignment and inquired if I had received the track from the music director. I asked him what I needed to write about and he said there was nothing that he could explain. He stated that he didn't understand the language of music or guitar. He expressed that if it was a drama, he could have broken it down for me. I asked him again about what the song demanded. Then Baharul Da gave me one single word, which was 'Life'. He asked me to write whatever I could write while thinking of that word.

After one and a half months, I received the call and was informed that the dubbing would be conducted that evening. Baharul Da told me that Zubeen had asked me to come along with the song. Baharul Da then asked me when he should come to pick me up. I wasn't even done with the song at that time. I asked him to pick me up at 8 -8.30 pm as I knew Zubeen would be recording at night. It was the time when Zubeen's studio at Kharguli was functioning. I sat down and started writing after having lunch. I was just done with the 'sthayi' and one 'antara' of the song when Baharul Da arrived to pick me up. We went to the studio with half-done lyrics. While Zubeen was dubbing the first part, I was writing the rest of the song. Later I was informed that there would be a Papon's version of the same song as there were two different sequences in the film that demanded the song.

What are the changes that you have experienced in the Assamese music industry in the last two decades?

The first big change is the shift from analog to digital. Only about 70-80 per cent of people from the previous generation have become accustomed to it. Whereas the present generation who have had access to the digital process of production ever since the onset of their career, probably find it to be more convenient. This has both its advantages as well as its disadvantages. For example, previously we had to compromise in terms of multi-track facilities. Now it is very easy to copy or duplicate an idea due to the facilities of the modern mediums. Music has transformed into a one-man show. However, there exists one major disadvantage in terms of this one-man show. Since music is an oral art, it requires the amalgamation of feelings and emotions of various musicians. The emotional hub, which flourished in the old forms of production, is rare now.These days musicians working on the same track don't even meet each other at times. They come to record their part according to their own time and convenience. This sometimes leads to ideas being addressed partly. They compromise and settle with whatever they can produce or write. However, this has also helped us as we don't have to ignore or leave other daily work and go for the recording sessions. Now we can go as per our convenience. Thus, both merits and demerits in terms of changes in music exiss.

Since you have done a few rap songs yourself, what is your view on hip-hop and rap in Assamese?

Rap is an art of words. We can summarise a vast topic through a rap song in a limited amount of time. To do the same in other song format, we might need around 15 minutes to express an equal amount of content. Hip-Hop and Rap is a worldwide-accepted music genre. Music has migrated over the ages from different geographical locations. Our music has migrated to other regions and we have welcomed genres from other places too. Hip-hop and rap is originally an Afro-American approach used to address revolutionary aspects. It talks about social issues and spreads certain messages. That idea remains, even though it does speak on other themes as well. My approach and desire with hip-hop and rap music is to sprinkle a touch of our region and create a perfect fusion. What's important is to maintain the individuality of each style while going for a fusion.

What is your view on the present music scene of Assam?

I have positive thoughts about it. The numbers have increased. Previously, it used to be 20,000 people in the industry, now it's 2 lakh. We receive everything from remarkable to mediocre and average projects and I believe all of it is necessary. I am ever hopeful.

Current projects that you are working in?

I am currently working on Ravi Sharma's Raghupati Raghava, a few albums of my students, projects of Nahid Afrin, RupamBhuyan, Rohit Sonar, Deeplina Deka, Priyanka Bharali, some albums of mine and a few more.

Awards and Achievements

I received the award for Best Music Director for the film Anurag in 2004-5. In 2006-7, I received the Best Music Director Award for Bhrayaman Theatre. In 2011, 2012 and 2013, I consecutively received the Prag Cine Award for the Best Lyricist. Along with it, I received the Sangeet Surjya Bata from the Akhil Bharat Mahasabha in 2021. Apart from these, I have also received certain media awards from different media houses.

Advice for the future generation

I am not old enough to give them advice. I still consider them as my friends, brothers and sisters. I want them to listen to good songs and read good books. They should experiment to figure out new ways to enrich the Assamese music industry and take it forward to new heights. Furthermore, they should keep their emotions intact, as it is the fundamental weapon to produce music.

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