Preserving Abdul Alim: The urgent need to safeguard a musical legacy

Fifty years have passed since we lost Abdul Alim, one of the brightest stars of our folk music. The versatile singer passed away at 43 on this day in 1974 at the-then PG Hospital. During the period of undivided Bengal, Bangla folk music was refined and popularised among urbanites by two maestros — Sachin Dev Burman and Abbasuddin Ahmed. They made folk music a brand.
Abdul Alim (1931-1974) remains an iconic name in folk music, revered for his melodious and unparalleled voice. Despite his monumental influence, his legacy remains underappreciated, with his birth and death anniversaries marked in a subdued manner and his name fading into obscurity.
Alim’s journey began in Murshidabad, West Bengal, from where he moved to Dhaka following the partition in 1947. Joining the Dhaka Radio Station as a staff artiste, he quickly gained recognition. His musical journey, sparked by an early fascination with gramophone records, led him to record two songs by the age of 14. His performances at Alia Madrasa in Calcutta cemented his reputation among music aficionados.
In Dhaka, Alim trained under Ustad Mohammed Hossain Khosru and won acclaim at various music conferences. His remarkable performances at the All Pakistan Music Conference in Lahore earned him five gold medals. Alim’s prolific career saw him recording for “Mukh O Mukhosh,” the first film produced in what was then East Pakistan, and continuing to record extensively throughout his life.
Folk music, with its deep roots in Bangladesh’s riverine culture, reflects the hopes and frustrations of its people. Alim’s contributions to this genre include memorable songs such as “Naiya Re Nayer Badaam Tuila,” “Duarey Aishachey Palki,” and “Premer Mora Jole Dobe Na,” which continue to resonate deeply with listeners.
Alim’s discography includes over 300 gramophone records and playback contributions to over 100 films. Posthumously, he was awarded the National Award (1974) for his work in “Sujon Sokhi” directed by Khan Ataur Rahman.
Despite his profound impact, Alim’s legacy remains poorly preserved. His family reports that nearly half of his extensive repertoire—more than 500 songs—is either lost or not properly archived. Of the 250 to 300 songs documented, many remain undiscovered, particularly those stored at Radio Pakistan. Diplomatic complications have hindered the return of these recordings, and recent efforts have yielded only 12 recovered songs.
Nurjahan Alim, Alim’s daughter, has expressed frustration over the lack of government support for preserving and promoting her father’s music. She highlighted the absence of state initiatives, such as naming streets or constructing auditoriums in his honour, which could help sustain his legacy. Despite repeated attempts to organise events and maintain his music’s presence, Nurjahan and her siblings face persistent obstacles.
In response to these challenges, Nurjahan is producing a documentary titled “Rongila Nayer Majhi,” scheduled for release this year. The project has faced hurdles, including difficulties in accessing archival footage due to lost resources. Her recent visit to Murshidabad, Alim’s birthplace, revealed significant local enthusiasm and emotional connection to his music, with proposals for cultural events in his honour.
Alim’s contribution to film music began with “Mukho O Mukhosh” and includes a variety of other films such as “Sujon Sokhi”, “Tir Bhanga Dheu”, “Kanchanmala”, and “Beder Meye”.
Folk music, an integral part of our cultural heritage, should be celebrated and preserved with the same dedication seen in other countries. It is a disservice to let the legacy of artistes like Abdul Alim become mere footnotes in our history.