Before opposing my statement, answer this—in which Bangladesh will great artistes emerge, and in which Bangladesh will music truly flourish?
Do we genuinely wish to see the advancement of our country’s music, to nurture talents who could stand alongside the likes of Kaushiki Chakraborty or Rahat Fateh Ali Khan?
Everyone will say—“Of course, we want that, a thousand times over!”
But think for a moment—at the countless lavish weddings, extravagant birthday parties, or grand inaugurations that take place in this country, how often do we see a classical music performance? Leave aside classical music—even modern songs or ghazals performed by professional musicians are rare. At the very least, do we find clean, well-curated folk music?
The answer is no.
At occasions of celebration, we are willing to spend extravagantly in many directions, but we hardly ever create an opportunity for a musician to earn even a modest income.
Artistes do not descend from the heavens. Nor can a government manufacture them in factories.
If we do not demonstrate the necessity of music in our lives, why would such artistes emerge at all?
To become a refined musician requires ten to fifteen years of arduous dedication. That effort is no less—and in many cases far greater—than the preparation required to become a doctor or an engineer. Yet even after all that labour, success is never guaranteed. For an engineer, mastering the technical subjects is enough. For a musician, however, technical mastery must be accompanied by years of spiritual and emotional discipline before music itself will surrender its essence.
If we do not know how to value such dedication, why would any individual take that risk? Why would any parent permit their child to embark upon such a precarious path?
It is not merely financial security that is required—there must also be social utility.
Imagine an architect who is paid a regular salary throughout his career but is never given the opportunity to design a single building—or whose buildings, if designed, are never seen by the public. Would such conditions produce a great architect? Certainly not.
In the same way, if we fail to value and appreciate an artiste’s work, no artiste will ever be created.
Consider also our own behaviour as audiences. Even when a music performance does take place, we fail to sit with patience and listen attentively. At that very moment, we feel compelled to chatter with our neighbour, to answer an “urgent” phone call, or to wander about restlessly.
Such behaviour not only discourages the artiste but deeply disheartens the organiser as well.