Today, on the death anniversary of Kalaguru Bishnu Prasad Rabha, we bow our heads in reverence to a legendary soul whose genius transcended art, music, literature, and patriotism. A towering figure in the cultural history of Assam, Rabha was more than just a man of many talents—he was a unifier, a revolutionary, and above all, a true artist who embodied the spirit of his people.
Bishnu Prasad Rabha was not molded by borrowed philosophies or fleeting trends. He was a man who shaped himself in accordance with the times, constantly evolving, adapting, and creating. From music and theatre to dance, painting, and literature, his creative expression was as vast as the Brahmaputra. His electrifying performance of the Tandava Nritya at Banaras Hindu University left a deep impression on scholars and artists alike—so much so that Dr. Sarvepalli Radhakrishnan conferred upon him the honorific Kalaguru, the master of the arts. Even the iconic dancer Uday Shankar was drawn to Rabha’s energy, choosing to learn Tandava from him, a testament to his mastery and magnetism.
But Rabha’s artistry was not confined to the stage. He was a relentless crusader for the downtrodden, traveling across Assam, igniting minds and awakening the masses during the colonial era. He lent his strength and vision to Jyoti Prasad Agarwala in the making of Joymoti, the first Assamese film, at a time when regional cinema had barely found its voice. His courage in the face of adversity, both during and after the freedom movement, makes him a unique figure in the history of Indian nationalism—an artist-revolutionary whose art was rooted in people’s struggles.
Rabha’s mission was not confined to a singular ideology. While many have tried to frame him within the narrow confines of leftist philosophy, such attempts ignore the larger truth. Rabha’s efforts were directed at cultural integration, inspired by the teachings of Srimanta Sankardeva and grounded in the civilizational ethos of Vasudhaiva Kutumbakam—the world as one family.
He worked tirelessly to bring harmony among the diverse ethnic groups of Assam, including the Nagas, Khasis, Manipuris, and others. His vision was inclusive and deeply rooted in the spiritual and cultural soil of the land. Those who attempt to appropriate him through political lenses miss the essence of his legacy. Rabha did not build his name by echoing the ideas of Marx or Lenin. Instead, he looked toward the living realities of Assam, interpreting them through his own artistic soul.
In the absence of any written homage to Marx or leftist theorists, it is unjust to claim Rabha as a mere leftist figure. His commitment was to the people, not to any imported ideology. His ideals were not driven by class warfare but by cultural upliftment and spiritual unity. To speak for all sections of society is not Marxist; it is deeply Indic, deeply Assamese.
Today, as we remember Kalaguru Bishnu Prasad Rabha, we remember a man who gave his life not for fame or fortune, but to enrich and elevate the cultural consciousness of his homeland. He built his own path, lit by the fire of creativity and the love of his people. His songs still echo through the valleys, his paintings still speak to the soul, and his vision still inspires generations.
Let us not confine his greatness to narrow definitions. Let us, instead, celebrate him as the artist of the people, the voice of unity, and the heartbeat of Assam. On this solemn occasion, we pay our deepest respects to Kalaguru—a true custodian of our civilization, who remains alive in every brushstroke, every melody, and every step towards a more harmonious society.
