This paper is on four song-texts from Kabir Suman, Nachiketa Chakraborty, Silajit Majumder and Anjan Dutt-the apostles of 'Jibonmukhee' Bengali songs in early 90s- as a form of cultural negotiation with the changing political-social-economic milieu within the country. Set in the backdrop of economic liberalization, rise of right-wing Hindutva nationalism and a strong left regime in the state for more than a decade, Bengal in the 90s reacted to the vista of 'change' in myriad ways-'Culture' being one and 'Jibonmukhee' being instantaneously vocal within it, the four harbingers of the new language of 'culture'-in four of their seminal texts arranged thematically and chronologically |1992-1995|- show an ideological demurral of the urban, middle class Bengali intelligentsia in reacting to 'change'-the 'old' is repudiated, the 'new' unacceptable. 'Jibonmukhee' posits a dilemma unique to Bengali literati: the journey from celebration→ trepidation→ rejection unhesitatingly culminates in escape: an escape from 'what-could-have-been' and not a refuge in 'what-will-be'. This paper thus analyses the tortuous relationship between the 90s' Bengali intelligentsia and its negotiation with the dwindling political vista it emanates from- a journey from 'left-liberal' to 'what-next?'.

This paper compares two certain sections in the musical career of Bob Dylan and Kabir Suman to look at a possible ideological heredity-1963-65 | 1993-97-these two timelines had established Dylan and Suman in their iconic status. My argument is that there is a liminal tradition-in four separate lyrics by the two composers-that transcends their geo-temporal boundaries. Dylan's four songs-"Blowin' in the Wind", "Tambourine Man", "Farewell Angelina", "All I Really Want to Do" have been spiritually translated by Suman in the early to mid 90s, when he was most productive musically. These songs, amongst others, not only established Suman as an avant garde musician but also seamlessly merged with his own vision of antiestablishment and non-belonging. Dylan was writing against the imperialist capital, Suman was writing against the parliamentary Left-they both assert the same bohemianism before proceeding towards iconic stasis. Dylan, after the 60s turns towards safer, politically inert aesthetics; Suman partially removes himself from music in favor of a fledgling political career. The bohemianism or the perennial non-conformity ends for both. What is the significance of this phase? How liminal are the lyrics divided by language, time and society?