In the cultural history of Bangladesh, certain songs transcend the boundaries of artistic entertainment to become profound repositories of national identity, struggle, and collective memory. Among these masterpieces, “Salam Salam Hazar Salam” stands as an immortal anthem. It encapsulates a nation’s reverence for its language martyrs, its pride in Bengali heritage, and its unyielding desire for sovereignty. The architect of these unforgettable verses was the eminent lyricist, poet, and cultural organiser, Fazl-e-Khoda.
Fazl-e-Khoda was a multi-faceted visionary—a freedom fighter, children’s author, editor, and broadcaster whose creative career spanned over five decades. While his contributions to literature and broadcasting were vast, it is his patriotic and revolutionary lyrics that permanently etched his name into the heart of the nation.
Born on 9 March 1942 in Bonogram, within the Bera Upazila of Pabna district, his childhood was marked by a deep inclination towards literature and the arts. This early passion guided him towards a lifelong journey of enriching Bengali music. Throughout his career, he contributed extensively across diverse genres, including modern romantic tracks, folk music, spiritual songs, and cinematic scores.
His most defining creation, “Salam Salam Hazar Salam”, was penned as a poignant tribute to the martyrs of the 1952 Language Movement, who sacrificed their lives to establish Bangla as a state language. Melodically composed by the celebrated composer Abdul Latif, the song achieved historic immortality through the resonant vocals of legendary singer Abdul Jabbar. First broadcast on Bangladesh Betar (then Radio Pakistan) on 14 March 1971, amidst the escalating non-cooperation movement, the track instantly became a primary catalyst for the liberation struggle. Even half a century after independence, the anthem continues to evoke profound emotional responses across generations.
During the tumultuous days of 1971, as the fires of rebellion spread across the country, another of his stirring compositions, “Sangram, Sangram, Sangram—Cholbe Dinrat Obiram” (The Struggle Will Continue Unceasingly Day and Night), was televised. This track served to further sharpen the revolutionary resolve of the public, remaining a shining example of Bangladesh’s mass-mobilisation music (Gono Sangeet).
Following the independence of Bangladesh, Fazl-e-Khoda’s creative pursuits seamlessly transitioned into the nation-building era. On 15 August 1975, when the Father of the Nation, Bangabandhu Sheikh Mujibur Rahman, was brutally assassinated along with most of his family members, a climate of fear and oppressive silence gripped the state. At the time, Fazl-e-Khoda was serving as an official at Bangladesh Betar. Defying the imminent danger and utilizing the subtle yet powerful medium of poetry, he voiced his resistance by penning the metaphorical track:
“Bhabna Amar Ahoto Pakhir Moto Pother Dhulay Lutobe,
Sat Ronge Ranga Swopnobihongo Shohosa Pakhna Gutobe—
Emon To Kotha Chhilo Na.” > (My thoughts, like a wounded bird, will roll in the dust of the streets… This was never meant to be.)
Composed by Bashir Ahmed, who also lent his melancholic voice to the piece, the song remains a historic and unique cultural testament against tyranny.
In the post-war era, his creative versatile output continued to flourish within the mainstream entertainment industry. His track “Bhalobashar Mullo Koto, Ami Kichhu Jani Na”, written for the popular film Epar Opar, directed by Masud Parvez, achieved widespread commercial success and remains a classic romantic melody.
Beyond songwriting, Fazl-e-Khoda was an influential media executive. He served as the pioneering editor of Betar Bangla, the official journal of Bangladesh Betar, and conceptualised numerous highly acclaimed programmes for both state radio and television. Deeply invested in nurturing the next generation, he founded Shapla Shaluk, a renowned socio-cultural organisation dedicated to the creative development of children and adolescents.
In his personal life, he was married to the noted writer Mahmuda Sultana, and the couple raised three sons: Wasif-e-Khoda, Onasis-e-Khoda, and Oasis-e-Khoda.
In profound recognition of his unparalleled contributions to the country’s musical and cultural landscape, he was posthumously awarded the Ekushey Padak—the nation’s second-highest civilian honour—in 2023.
Though Fazl-e-Khoda breathed his last on 4 July 2021, his legacy remains untouched by time. As the final verses of his signature song remind us: “I wish to leave my heart behind, in the remembrance of all the martyrs.” Through his timeless words, he continues to live on in the collective consciousness of a grateful nation.