‘Samanathaalam,' a serial Shyamaprasad directed almost a decade ago, had an evocative title song ‘Siraapadalangal Spandithamayi.' The lyricism, lush native imagery and usage of words reminded one of ONV Kurup's craftsmanship.
However, subsequently, one could hear the idiom and voice of a new talent; a sensitive poet who understood the Malayali mind and milieu as sensitively as ONV did. The lines adhered to the conventional romanticism of Malayalam lyrics but was emphatically contemporary too. The words, though clichéd, were used innovatively to spark off a novel set of imagery. The poem, with its aesthetics and eloquence, marked the beginning of a new sensibility in Malayalam lyrics. Rafeeq Ahamed had arrived.
A poet in his own right, Rafeeq made his foray into filmdom with P.T. Kunju Mohammed's ‘Garshom.' Ten years later, the Thrissur-based poet is a much sought after lyricist. His significant works include ‘Paradesi,' ‘Thirakkatha,' ‘Perumazhakkalam,' ‘Pranayakalam,' ‘Ritu' and the latest ‘Sufi Paranja Katha,' for which he was awarded the Kerala State Film Award for the Best Lyricist in 2009.
The song ‘Thekkini Kolaya Chumaril' has a structural uniqueness that metaphorically emphasises the apparent theme of the film – a love affair between two people who belong to different religions. Rafeeq's lines combine the essence of two cultures, and also the romantically involved duo's perspectives about love.
While the aristocratic Namboodiri girl dreams about a luminous Gandharva-like figure shimmering in the aura of dusk, the Muslim boy pines for his love in the blazing heat of the desert sands. According to the citation, the State award was for having ‘successfully recreated the beauty of nostalgic memories with a set of magical, simple words.'
Happy that his work has been acknowledged, Rafeeq talks about the song that won him the award.
“I could easily relate to both the Hindu and Muslim premises since I hail from an area where both communities live in close proximity and amity. I was also familiar with K.P. Ramanunni's story, which worked as the base for ‘Sufi Paranja Katha.'
“My attempt was to portray the romantic hopes of the two within the framework of their different cultures. Although there is a universality in their feeling towards each other, they articulate it in two different ways; in a language that echoes their respective cultures. Even their dreams reflect their culture and upbringing,” explains Rafeeq.
Another significant song Rafeeq penned last year was ‘Kathayamama' in ‘Kerala Café,' the theme song of the film. It outlines the art of storytelling and is perhaps the best theme song in Malayalam. The multitude of meanings of the word ‘katha' and the relevance of each in the continuum of human existence have been portrayed in the 20-line verse.
‘“Kerala Café' has 10 stories – independent and inter connected at the same time. So the very idea of the film is the art of storytelling. The first two lines of the song have been taken from ‘Adhyathma Ramayanam Kilippattu,'” says the writer.
The song starts off with an ode to Ezhuthachan and the deconstruction of the idea is with the word ‘katha,' which appears in almost every line, assuming different meanings in each – from ‘katha' (story), the lyrics move on to ‘kathanam' (narration) and ‘kadanam' (grief).
‘“Katha' has both literal and colloquial meanings in Malayalam. ‘Katha kazhinju' is a remark used to convey that the person is no more. ‘Kathayillatha aalu' refers to a certain shallowness of character in a person. So the word itself has more than one connotation,” explains Rafeeq.
Rafeeq's tryst with imagery also forms the core of his lyrical style; a style of lyricism, sketching of word pictures and use of words that tangibly and palpably touch the senses.
“I usually don't follow a particular structure or style. I leave it to the organic process that happens within me during writing. Film songs, unlike poetry, should be designed as a tool of communication and not as an experience,” believes Rafeeq.
He avers that a film song should be within the narrative of the film. “The song should underscore the intent or the ideology the film proposes. There were times when songs had their independent role in the socio-cultural scenario of our society… say during the times of the Kerala People's Arts Club. Not any more. But there is still hope if we can manage to make songs that can address the emotional terrain of people across classes,” he adds.
It is this attempt to depict and decipher emotions that give Rafeeq's lines that edge.
Without uprooting lyrics from the soil of the Malayali culture, Rafeeq has been able to capture the angst and concerns of the modern Keralalite; something that goes unaddressed in the chaos of commercial cinema. It is perhaps this capability to look into the unsaid and the unseen that makes and keeps this writer in the reckoning.
