Introduction
Indian classical music represents one of the most significant cultural expressions, encompassing a wider range of musical themes. In the genre of classical music, tappa is a form of semi-classical vocal music where the other three forms are dhrupad, kheyal and thungri. In the rich and vibrant cultural heritage of Bengali music, Nidhu Babu’s Tappa remains as one of the major contributions to the arena of Indian classical music. It was a semi-classical genre that facilitated the fusion of romance and melody into the cultural fabric of 19th-century Bengal. In Bengal, it was first pioneered by Ramnidhi Gupta, popularly known as Nidhu Babu, this musical form transformed the Hindustani Tappa into a distinctively Bengali expression which led to the “Bengalization” of the Hindustani Tappa.
The Birth of Bangla Tappa
Born in 1741 in the Hooghly district, Nidhu Babu grew up in Kolkata, where he learned Persian and some English, eventually working as a clerk in Chhapra from 1776 to 1794. From this time, he got trained under a Muslim ustad in Hindustani music, including the Tappa style rooted in the folk songs of Punjab’s camel riders. Tappa is classified into two forms: Hindustani and Bengali. In Awadh, in the court of Asaf-ud-Daula, it was originally developed by Ghulam Nabi Shori where Hindustani Tappa was characterized by fast-paced music style. The word “tappa” means jumping in Punjabi, indicating its rapid and quick musical note. Nidhu Babu, after returning to Calcutta, set out to reshape the form, by slowing its tempo and infusing it with the lyrical beauty of Bengali poetry. Bengali Tappa, unlike the Hindustani form of tappa was marked by mid-level swinging vibrations (gamak) on each tone. Infusing it with several vocal ornamentations like gitkari and tana to project the emotional depth, Nidhu Babu’s tappa became a profoundly expressive form of semi-classical music. One of the most significant innovations that Nidhu Babu introduced was the concept of love as the central feature unlike the usual depiction of the story of Radha-Krishna in the lyrics of Tappa. These were the straightforward expressions of love of individual souls. To quote from one his songs,
“Bhabashibe boley bhalobashiney
Amar shabhab ei toma boi ar janiney
Bidhumukhey madhur hashi dekhtey bado bhalobashi
Tai tomarey dekhtey ashi dekha ditey ashiney.”
( I don’t love you expecting you to love me.
It’s my nature-I don’t know anyone except you.
I love to watch that sweet smile on your beautiful face.
So I come to see you-not to be seen)
Musical themes
Nidhu Babu’s tappas, with its delicate balance of classical structure and emotional reverberation, resonated with both the elite and popular masses. Apart from depicting romantic themes, he sought to project sometimes the experience of a community facing socio-political upheavals, which led him to compose his first maidan patriotic song, embodying a sort of cultural nationalism, which is as follows,
“Nanan desher nanan bhasha
Bina swadeshio bhasha purey ki asha?”
(Different countries have different languages.
But can we be happy without our own language?)
Nidhu Babu’s compositions, such as Anugoto Jone keno, Lukiye Bhalobasbo Tare and so on, are some of the examples of his tappa’s emotional depth, catering to the romantic yearnings of the youthful masses. Another song, for instance, Tomari Tulona Tumi Pran, from the the Bengali film Amar Geeti, demonstrates the theme of romantic devotion, while another one, Sajani Lo Soi presents the tender ache of separation.
Alongside, Nidhu Babu also composed devotional songs in the form of tappa, such as Parambrahma Tatparatpar Parameshvar, implying the versatility of this style and also appealing to a wider audience. In 1837, Nidhu Babu published ‘Gitaratna’, a collection of 101 tappa love songs (except Nanan desher nanan bhasha). This work was a deliberate effort to cement his legacy, ensuring the authenticity and any sort of misinterpretations of his compositions.
Cultural Impact
Nidhu Babu’s tappa was a kind of musical revolution and a cultural phenomenon, bridging the gap between elite gharanas and popular audiences. The Tappa culture initiated by Nidhu Babu and its resonance with the society made it a favorite spot in Kolkata’s public gatherings. Before the introduction of Bengali tappa, Kheyal and Tappa were sung in the public gatherings organized by the wealthy Babus. But the songs were not sung in Bengali. So Nidhu Babu’s tappa was definitely an innovation in this regard. As noted historian Sumanta Banerjee stated that his songs were confined to rich Bengali households and came to be known as Baithaki-gaan (musical gatherings). Nidhu Babu also founded two akhrai troupes in 1804 in the Baghbazar-Shobhabazar area and the Pathuriaghata area, dedicating them to perform classical and semi-classical Indian music. The genre’s influence extended to Bengali theatre, where tappa became a staple of musical dramas. A 19th century Jatra exponent, Gopal Ude took some initiatives to invoke tappa as theatre music, so that it could reach out to the non-elite masses in rural Bengal. Well-known composers such as Kali Mirza and Sridhar Kathak built on Nidhu Babu’s innovations, while Rabindranath Tagore incorporated some elements in his compositions, which are quite similar to Tappa but with various modifications. The type of tappas created by Tagore came to be known as “Rabindric Tappas”. Satyajit Ray’s short film Kanchenjunga featured one of the Rabindric tappa, E Porobashe Robe Ke, to express the grief of a lonely woman. Even D.L. Roy, known for his patriotic compositions, was influenced by this genre. Thus, the genre initiated by Nidhu Babu was a major component in the evolution of Bengali music which further influenced many later day music composers.
The Legacy of Nidhu Babu
The legacy of his tappa style endured among connoisseurs and musicians committed to preserving Bengal’s musical heritage. In this regard, Ramkumar Chattopadhyay emerged as a pivotal figure, contributing to the revival of this genre. His album, Nidhu Babur Tappa featuring 13 songs, came out in 2007, illustrating the soulful renditions that combined his artistic skill with a subtle humor in his voice.
Apart from Ramkumar, Kalipada Pathak and Chandidas Mal tried to retain the legacy of Tappa alive in order to ensure that Nidhu Babu’s melodious compositions continue to resonate in contemporary Bengal. Film like Amar Geeti(1983), as mentioned above, was also a kind of cinematic rendition of the significance of Ramnidhi Gupta or Nidhu Babu in the cultural sphere of the Bengalis. Lyricists like D.L Roy, Atul Prasad Sen and Kazi Nazrul Islam also composed songs based on the genre of tappa.
Conclusion
Nidhu Babu’s tappa remains one of the significant contributions to Indian classical music till date. From the folk song of Punjab’s camel caravans to the elite gharanas of Kolkata, it is a journey of adaptation and creativity. At a time when kobigaan, kheur, kheyal, and so on dominated the cultural milieu of Bengal, Nidhu Babu’s tappa was indeed an innovative approach. He sought to blend the romantic lyricism with a classical touch, creating a genre that would resonate with the individuals, expanding the boundaries of Bengali music. His genre of music was one of the most striking features of the elite culture of the early nineteenth century.
Bibliography
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