BABU LALAN JEE: THE HEART AND SOUR OF BHOJPUR’S MUSICAL LEGACY

BABU LALAN JEE: THE HEART AND SOUR OF BHOJPUR’S MUSICAL LEGACY

27-JULY-ENG 1

RAJIV NAYAN AGRAWAL

ARA------------------------Bhojpur, a district in Bihar renowned for its rich tapestry of culture, literature, education, and music, stands as a beacon of artistic heritage in India. Among its many luminaries, one name resonates with unparalleled reverence: Shri Shatrunjay Prasad Singh, affectionately known as Babu Lalan Ji. A maestro of the pakhawaj, tabla, and Kathak dance, Babu Lalan Ji transformed his birthplace, Ara, into a sacred pilgrimage site for musicians, as proclaimed by the legendary Dhrupad exponents, the Dagar Brothers. A man of profound talent, deep sensitivity, and a commanding zamindari aura, his life was a symphony of artistry and compassion, tragically cut short by a fateful accident. This article celebrates his extraordinary contributions to Indian classical music, his role in elevating Bhojpur’s cultural stature, and the enduring legacy of a soul whose music continues to echo across generations.

Born on July 27, 1901, in the village of Zamira, Bhojpur, Babu Lalan Ji was the illustrious son of Hitnarayan Singh, a prominent zamindar of the Zamira estate. Despite the grandeur and authority that came with his zamindari lineage, Babu Lalan Ji was a man of tender heart and deep emotional resonance, qualities that endeared him to all who knew him. His affinity for music manifested early, setting him on a path to become one of India’s most revered classical musicians.

His musical journey began under the tutelage of the esteemed Guru Devkinandan Pathak from Raipur, Ballia, who introduced him to the pakhawaj, a traditional percussion instrument central to Dhrupad and other classical forms. At the age of 19, Babu Lalan Ji made his debut at a prestigious music conference in Calcutta (now Kolkata), delivering a pakhawaj performance that left the audience spellbound. This marked the beginning of his ascent, as his virtuosity garnered acclaim in both intimate gatherings and grand assemblies, establishing him as a prodigy whose talent would soon reverberate across India.

Babu Lalan Ji’s artistry was not confined to a single discipline. He pursued rigorous training in tabla under Pandit Vikku Maharaj of the Benares Gharana, mastering its intricate rhythms and expressive depth. Around 1933, he furthered his tabla education under Ustad Hasan Bakhsh Khan in Karachi (now in Pakistan), learning the Western style of playing. His versatility extended to Kathak dance, which he studied under the legendary Achchan Maharaj, father of Kathak icon Padma Vibhushan Pandit Birju Maharaj. This comprehensive mastery of pakhawaj, tabla, and Kathak made Babu Lalan Ji a rare polymath, blending rhythm, melody, and movement into a seamless artistic expression.

His pakhawaj performances were a study in gravitas and innovation, characterized by long, resonant parans such as tadan, dhumkittak, dhettagin, kridhetta, and dhannanan. A hallmark of his style was his ability to articulate poetic verses through his playing, most notably the Saraswati stuti, “Ya Kundendu Tushar Haar Dhavala,” which he rendered with such clarity and emotion that it seemed the pakhawaj itself was singing. His bold, open approach, combined with the lyrical sweetness of his rhythms, created an immersive experience that captivated listeners.

In tabla, Babu Lalan Ji’s playing was infused with veer rasa (heroic sentiment), a signature of the Benares Gharana. His accompaniments in Dhrupad performances were so powerful that they filled the void of the pakhawaj, preserving the music’s essence. The balance of strength (jordari) and melody (madhurya) in his playing, coupled with the aesthetic finesse of his hand techniques (hathauti), set him apart as a musician of unparalleled caliber. As a representative of the Koda Singh Gharana, he brought a unique depth to his renditions, enriching the tradition with his creative vision.

Babu Lalan Ji’s vision extended beyond personal artistry to the nurturing of a vibrant cultural ecosystem in Bhojpur. He transformed his ancestral home, Zamira Kothi in Ara, into a thriving center for musical education and training. This residence became a sanctuary for aspiring artists, offering free lodging, meals, and instruction in classical music and dance. Zamira Kothi was more than a training institute; it was a crucible of creativity, where the traditions of Indian classical music were preserved and propagated.

Under his patronage, Ara emerged as a cultural epicenter, earning the affectionate title of “Chhoti Kashi” (Little Benares) from the legendary vocalist Pandit Omkarnath Thakur. This moniker reflected the city’s pure and vibrant artistic atmosphere, which attracted luminaries such as Pandit Siyaram Tiwari, Pandit Ramchatur Mallik, Ustad Habibuddin Khan, Pandit Anokhe Lal Mishra, Ustad Ahmed Jan Thirakwa, Pandit Samta Prasad (Godai Maharaj), and dancer Damayanti Joshi. Babu Lalan Ji organized several national-level music conferences in Ara, drawing the finest talents of the era and cementing the city’s place on India’s cultural map.

One of the most iconic moments in Ara’s musical history occurred in the 1950s, when Padma Vibhushan Vidushi Girija Devi performed her first public concert at the Rupam Cinema Hall in Ara, an event she recalled with immense joy. Babu Lalan Ji’s efforts ensured that Ara became a melting pot of artistic talent, fostering a legacy that continues to inspire musicians today.

Babu Lalan Ji’s artistry transcended Bhojpur, resonating in cultural hubs like Kolkata, Jaipur, Udaipur, Lucknow, Delhi, and Benares. His pakhawaj performances, marked by their depth and grandeur, became a staple of music conferences across the country. As a torchbearer of the Koda Singh Gharana, he blended tradition with innovation, captivating audiences with his emotive and powerful renditions.

His contributions were recognized with a plethora of prestigious awards, including the President’s Award, the Fellowship of the Sangeet Natak Akademi, Mardangik Chakrachudamani, Sangeet Shiromani, Sangeet Martand, Laya Bhaskar, the Governor’s Award, and the Dance and Drama Award. These honors underscored his extraordinary talent and his role in advancing Indian classical music.

Beyond his performances, Babu Lalan Ji was a mentor and patron to countless artists. Zamira Kothi served as a nurturing ground for luminaries who achieved national acclaim, ensuring the continuity of Dhrupad, tabla, and Kathak traditions. His generosity extended to organizing and presiding over major music conferences, both in Ara and across India, fostering collaboration among artists. He invested significant resources in promoting the arts, often at personal expense, reflecting his deep commitment to cultural preservation.

His influence was profound, as evidenced by the Dagar Brothers’ declaration in the 1950s that “Ara, the birthplace and creative abode of Babu Lalan Ji, is a pilgrimage site for musicians like us.” This tribute encapsulated the reverence he commanded within the musical fraternity, positioning Ara as a sacred hub akin to Benares.

Despite his commanding presence as a zamindar, Babu Lalan Ji was a deeply emotional and compassionate individual. His sensitivity and warmth endeared him to all, from fellow musicians to the common people of Bhojpur. This duality—zamindari authority paired with a tender heart—made him a beloved figure, whose legacy transcends his musical achievements.

Babu Lalan Ji’s life was tragically cut short on June 9, 1961, in a devastating car accident. The incident occurred as he was returning from Varanasi with his two sons, Satyendra Narayan Singh and Surendra Narayan Singh, after performing the final rites for his mother. As the car collided with a tree, Babu Lalan Ji’s final words, “Haay mera beta” (Oh, my son), reflected his selfless concern for his children even in his last moments. With those words, his life ebbed away, leaving behind a void that could never be filled.

At the age of 59, his untimely death was a profound loss to the world of Indian classical music and to Bhojpur, where he was a cultural colossus. Yet, as the Dagar Brothers noted, luminaries like Babu Lalan Ji never truly depart; they live on through their works, forever etched in the hearts of those who cherish their contributions.

Bhojpur’s cultural significance extends beyond Babu Lalan Ji, encompassing a legacy of scholarship, literature, and artistry. The district has produced countless luminaries who have excelled in their fields, but Babu Lalan Ji’s contributions stand out for their transformative impact. By establishing Ara as a center of classical music, he created a fertile ground for creativity, where traditions were preserved and innovation thrived. Zamira Kothi remains a symbol of his vision, while the music conferences he organized brought national attention to Ara, cementing its place as a cultural hub.

Babu Lalan Ji’s life was a symphony of talent, compassion, and dedication. Through his mastery of the pakhawaj, tabla, and Kathak, he elevated Bhojpur to a revered status in Indian classical music. His Zamira Kothi became a beacon of learning, while his performances captivated audiences across India. The accolades he received reflect the magnitude of his contributions, but his true legacy lies in the artists he inspired and the cultural vibrancy he instilled in Ara.

The Dagar Brothers’ proclamation that Ara is a pilgrimage site for musicians remains as true today as it was in the 1950s. As we commemorate his birth anniversary on July 27, 2025, we honor a maestro whose music transcended time, whose heart touched countless lives, and whose legacy continues to make Ara a sacred abode for all who seek the divine through art.