Baul- The Folk Music of Bengal - Page 4

Poet Rabindranath Tagore in his Hebart Lecture in London (1933) first applauded Lalan Shah as a mystic poet who discovered 'soul' and the meaning of 'man'. Tagore said that I discovered that 'man' from the songs of Lalan who said that "(ai manushe ase se mon....) "....) the 'man' is within yourself where are you searching Him (Folkore, II, Calcutta, 1961).

Tagore through his Estate-Assistant Bamacharan Chakravarty managed to copy nearly 150 songs from his akhra (residing place) Seuria from which only a few songs were published in the monthly Probashi as 'Haramoni' in 1920. Soon after, search for similar songs were undertaken by various collectors including Md. Mansur Uddin. 'Haramoni' (1932) the preface of which was written by Tagore said that here, in these songs, Hindus and Muslims have been united under the same sky------ there is no barrier of caste or creed...'

Tagore wrote that it is a fact that I infused the tune of Baul (Lalan) in many of my songs and dramas. Dusan Zbavitel, a Czeck Folklorist wrote that 'it is my firm belief that if Tagore had not stayed in the countryside (Selaidah), he would not have become, what he was as a man or a poet. Now the scholars are discovering the Baul-motifs in his songs, dramas and poems, which needs elaborate discussion (Folklore, II, Calcutta, vol. 14,1961).

Lalan Shah, one of the greatest mystic poets of this sub-continent was born in the year 1774 in the village Harishpur, under the present District of Jhenaidah in Bangladesh. Ultimately through many ups and downs of life, varied experiences and devotional pursuits, he settled in Seuria, a village near the present district headquarters of Kushtia. There was a time when Muslim sufimendicants covered almost all the areas of the then Bengal and many of their memories have now been turned to sacred legend. As for example, Shah Sultan Rumi, Hajrat Shah Jalal, Shah Sultan Makka, Shah Sultan Mahishwar, Khan Jehen Ali, Shah Ismail Gazi, Shah Makdum, Hajrat Jalal Uddin Tabreji and many of their followers can be mentioned.

The mysticism of Lalon songs largely remains unrevealed and unexplored till date. This is so because Lalon's songs, which are countless, were passed on orally through his disciples and were mostly unwritten. Only a limited number of songs that could be preserved were later transcribed by his followers. Fakir Lalon Shah (1774-1890), the most illustrious Baul poet of Bengal, was born in Chapra, Kushtia. It is said that when Tagore came to Shilaidaha of Kushtia to look after his zamindari, he invited Lalon to his place. The Baul songs of Lalon with its simplistic tune and in-depth philosophical lyric had a profound impact on Tagore. Later, Tagore used the style extensively in his Baul trends and even termed Lalon as Kabbya Lakkhi. Tagore took the initiative and published some of the songs in the monthly Prabasi of Kolkata. Baul is a mystical cult with a spiritual discipline relating to philosophical thoughts. The inner meaning of Lalon songs caters for peace and tranquility, and is akin to Sufism calling for the purity of soul. It highlights the intricate relation between the body and the soul. Baul songs glorify humanity. Although spiritual, the style and words testify the Bauls' inherently secular beat. Lalon's life, however, remains shrouded in mystery. Professor Mansuruddin, a scholar of folklore, writes that Lalon was Hindu by birth. Some say he was called Lalon Chandro Rai, while others say he was called Lalon Chandro Das. His mother was known as Padmabati Devi. Once, Lalon had been to Bahrampur in Murshidabad. On his way back, he was seriously ill with smallpox. His accomplices thought him to be dead and abandoned him in a critical condition. Destiny took Lalon to a nearby village where a Muslim family of a weaver community saved him and took care till he recovered fully. Here he met Shiraj Sai, the spiritual guide of the family. His preaching left a permanent mark on Lalon. After Lalon recovered from illness he went back to his village only to be humiliated by his own community for taking shelter amongst Muslim family. This was the turning point in Lalon's life. He felt terribly shocked and let down and took refuge in a nearby jungle in Souria. From then on he devoted himself to meditation and sought for divine mercy and salvation. Later, Lalon set up an akhda at Chheuriya, where he lived with his wife and a few disciples. Lalon was a humanist who completely rejected all distinctions of caste and creed. Lalon wrote songs on Guru or the spiritual guide, the central idea depicting that emancipation of the soul is not possible without guidance. The song Shob loke koi Lalon ki jaat shongsharey indicates his strong belief in humanity. His songs were a unique example of ascetics, mysticism and divinity.After he passed away on the 17th of October 1890, at Chheuriya, at the age of 116, he was laid to rest at the place of his meditation.

The old Bengal lyric tradition of which the oldest extent was found in the Charya-poems of the Siddas. Natha mendicants attended in the post-Muslim times to the Baul songs on one hand and the Vaishnava-padas songs of Vaishnavas on the other. With a dash of Islamic spirit these became, Muslim Baul songs which are heard from Muslim Bauls over Bengal"…

Lalan Shah was a Baul as well as a mystic mendicant whose allegiance could be discovered in the sophistic ideals. The subject and motifs of his devotional songs are varied, he gathered these reference from his precepts as well as of his own experiences, while traversing the long-stretched devotional path-a-path paved by both the Islamic theology and the continental traditions mentioned earlier. Lalon, a powerful and gifted instrument, it may be safely said, echoed the voice of the eternity, eternal pangs of human soul with the fullest devotion, sincerity and ecstasy. There was not a single Baul throughout the country who was not influenced by Lalon or his songs. He composed thousands of mystic songs- which were not only sung and recited but were also responsible for uplifting the eternal human pangs, which bleed with the sorrow and pathos of human destiny.

You are Allah, the preserver, and the protector.

You can make the floating sink and the sinking you can bring ashore
You touch me with your hand and I call out your name.
You made the Prophet Noah cool the fury of the flood;
And then in compassion you made the flood to recede.
Have pity on me, the mighty Lord, of the Universe."
Where is the key of the devotional knowledge? Lalon replied:
The key to my door is held by others I cannot open the door and see the treasure.
Gold lies piled up in my room, But the transaction is made by another;
I am gravel-blind and cannot see him.
If one day I can reach the watch-man,
He will give me charge of the door.
I cannot say I know him not,
And I follow the path of depravity.
Oh, mind, this key-holder,
is the jewel of a man
Says Lalon, I got the treasure
but was unaware of its value.

Where lies this mystery of human soul? Where from I came and where shall I go? Lalon's answer:
How does the strange bird
flit in and out of the cage,
If I could catch the bird
I would put it under the fetters of my heart.
The cage has eight cells and nine doors.
With laten
opening here and there,
Above is the main Hall with a mirror chamber
O my mind, you are enamoured of the cage;
little knowing that the cage is made of raw bamboo,
and may any day fall apart
Say Lalon, forcing the cage open
the bird flitted away, no one knows where.

Lalon died in 1890, and his mortal remains rest in Seuria, now the holy pilgrimage of Bauls and the lovers of Bauls songs. Amazing is this that he was born on 1st Kartik and died on the same date.
(Dr. Ashraf Siddique, The Independent, October 30, 2003)

 

Lalon Shah, the Bauls and their Practices


In Bangladesh there is a category of Sufi mystics, male and female who travel from place to place carrying with them folk musical instruments and a begging bag made of torn off cloths called 'anchla'. These people are better known as Bauls. In Persia, the place of their origin, the Bauls were obscure as a sect because of their erotic and esoteric approach to life. They are neither Hindu nor Muslims. They are known for iconoclasm, disregard of caste and social formalities. They worship Man as the center of all creation and preach humanism. They love music, which speaks of human body as the microcosm and soul as an elusive bird or the unattainable Man of the Heart. In many places of Bangladesh, they have religious resort or 'Akhra'.

Here they halt overnight or stay for a short- while sharing bed and food and singing devotional mystic songs. They also take 'ganja' (cannabis indica). The Bauls are not born in a family but are inducted to the cult by the 'Guru' or 'Shain'. At a certain stage, The 'Guru' or 'Shain' is similar to 'Pir' of the Sufi sects and they have also such names as 'Murshid' or 'Darvish'. The category of 'Guru' or ' Pir' includes both entombed historical figures and living practitioners.

In Bangladesh, the Sufi tradition bears the name of 'pir' who are known as spiritual leaders. These people have a number of followers known as 'murid' or disciples. In Baul-Sufi category as it is found in Bangladesh and Indian part of West Bengal, however, the disciples are known as 'shishya'.

The word 'Pir' is being used in all categories of the Muslim mystics to denote spiritual leader but the 'Guru' is only used by the Hindu - Buddhist mystics and also by the Sufi Bauls in the Subcontinent. The Hindi 'Baura' represents the same denomination as of the Bauls. The Baura spiritual leader is also called the Guru. The Bauls, however, use some other Sufi terminology as 'Murshid', 'Darvish' and 'Shain'. In Sufi mysticism as well as in Baul cult 'Shah' is commonly used to identify their class. The word 'Gosain' refers to the Vaisnava religious sect. Although, the Bauls claim that they differ greatly from the Vaisnava, they, however, have many things in common with each other.

In Bangladesh, the Pir and the Guru phenomenon have also given birth to a series of sub-cultures. The Pir, however, enjoys a special and wide-cultural milieu between the Ulema; the most learned in religious teachings and the Shaikh who has attained the mystic height in the Sufi religious tradition. The word 'Awliyah' suggesting a friendly and mystic attachment with Allah is often used to denote a 'Shaikh'.

The 'Pirs' as holy men in the mystic hierarchy, used to enjoy a sort of authority similar to those of the Brahmins who hold the highest position in the Hindu religious order. During the Sultans and more particularly in the Mughal period, the Pirs and the mystics in the name of 'faquir' exerted tremendous influence in the political arena also.

The Bauls of Bangladesh today enjoy a sort of power structure as they shape themselves into a religious community with Lalon Shah as their spiritual leader. Every year, they arrange two religious festivals like 'urus' of the Sufis but the Bauls call these festivals as 'sadhu-sangho' or 'motsob' or 'mossob' corrupt of mohotsab, one during the ' dol-purnima' in line with the Vaisnava and the other on the occasion of the death anniversary of Lalon Shah in the month of October. The word 'mohotshab' may refer to grand or gala festival of the Bauls. Actually the festival stands as the congregation of the saintly persons, known as 'Sadhu-Sangho'. Thousands of the Bauls, male and female, attend the religious festivals and stay in the Mazar for three consecutive days singing and feasting.

They are now an organized group centering on the Mazar of Lalon Shah. In Kushtia, the Bauls who live in Seuria village where Lalon Shah once lived and then died there have been playing a key role in the administration of the Mazar and the Baul community.

The Government has set up a cultural complex spending around Tk4 crore for the preservation of the songs if Lalon Shah and their study. A section of the Bauls apparently followers of Mantu Shah opposed the construction of the cultural complex within the Mazar premises because they considered it as an intervention in their religious freedom

The Baul Guru also enjoys the role of a religious leader like the Pir of Sufi sects. He has innumerable followers or Shisya who consider him very powerful in changing their fate because of their belief that he has mystic contact with the spirits and underworld. In all their activities concerning life and property the impact of the Baul Guru is thus tremendous. I know a number of Baul Gurus who have amassed huge property in the form of 'Najrana' (special kind of respect payable through gift both cash or kind or both.).

This study is an attempt to explore the religious cult, in the context of our cultural heritage. In Bangladesh there are various Sufi sects with their respective Pir heads. They are considered not only holy but are also believed to have power to play a decisive factor in the life present and the life hereafter of the devotee. These Pirs have both rich and poor, high and low as their followers. The Bauls on the other hand consist mostly of poor, low caste, forsaken, divorced or widowed women. But now-a-days, the middle class and the youth are also found joining the cult. In fact, the Bauls have gained tremendous popularity over other religious cults or sects

This paper is also intended to identify the strength of the cult, which has made it a popular folk religious community in Bangladesh. It appears that the Bauls largely belong to the Muslim community but they do not observe the Muslim Shariah and, on the other hand, they are more close to Sufi beliefs and practices. There is no doubt that the cause of their attraction to the Baul cult is their music. The Guru, however, enjoys an elevated position among his disciples and maintains an economically otherwise solvent life.

Diksha or initiation ceremony

A Baul is not born, he is made. If anyone is willing to accept the Baul faith, he or she is inducted into the Baul cult after being properly initiated by the Baul Guru. In fact, initiation or diksha is considered sine qua non to the Baul faith. When a Baul is initiated, a ceremony is arranged for him or her or for the couple who are initiated jointly, by other Bauls. Woman or female plays the most vital part in Baul cult. Without woman partners the cult loses its significance. Woman is also considered a ' chetan guru' or one who is awaken or conscious of all activities in the cult. Lalon says:


"kothai acche re din daradi shain lalon bole, chetan guru sango loye khabir karo bhai"
Where is my lord of life
Identify Him with the help of your guide who is always awaken and takes care of you.

The Initiation or Diksha ceremony is called by the Bauls and followers of Lalon Shah as 'bhek' ceremony. It refers to one's induction to the ascetic life. The Initiation changes the whole life pattern of the persons. They are separated from the life they were leading with their children and others. They can not maintain social intercourse. The persons who intend to be initiated are taken to a secluded place or hut .It is called the ' secret chamber'. The Guru or their spiritual guide then comes to them and gives them necessary instruction not witnessed by others. Only three persons, the guru, the man and woman are there.

Here the persons to be initiated undergo certain process or rituals with the guru that is never disclosed to others. On the following day, the couple is taken to a purifying bath either to a river or in a pond. A 'khilka' is a new white cloth which stands as the symbol of 'kafaon' as used by the Muslims for a burial cloth and is given to the couple who undergo initiation process with this end in view that the persons who are being initiated are also taken as dead to the life which they led previously.

They are now considered dead while still living . In Baul terminology, it is taken as 'jyante-mora'. 'Jyante'is one who is alive or living.And 'Mora' is taken as dead. The initiating couple then taken to the shade of a big 'chadoa' or cover which is held by four persons, of them, two are women taking the four corners of the 'chadoa' or shed while the others who are already initiated help the initiating couple dress in a 'khilka'.The male initiate is then covered with a 'pagree' or turban. Underneath his outer garments the initiate is then made to wear a very tight-fitting underwear or a catche-sexe known as 'dor-kowpin' or 'kapni'.It is a tiny loin cloth worn by the ascetics of India and Bangladesh.

This consists of a cord which is tied round the waist and over which a yard-long piece of white cloth about six to eight inches wide is draped in front of the genitals and pulled between the legs and over the cord in the back. The remainder of the cloth is then secured by twisting it round the part passing the buttocks. The initiate is then given a shoulder - strap cloth bag known as 'anchla-jhola' to carry small items. The initiate receives a kind of necklace or 'tasbi'(a rosary of beads) from the Guru. He is also given a water pot and a stick .his female partner known as his ' sheba-dashi'or one who is always ready to serve the male partner is then dressed in a similar fashion. She however receives the assistance of female Bauls who dress her in a white sari without border together with 'khilka'

The male counter part uses white 'lungi'. Lungi is a long loin-cloth usually worn by the Muslims. The dress of he initiates is called 'bhek', the garb of ascetics. The Guru then takes the pair to the secret chamber and confers 'vij-mantra' or 'kalma', a mystic word or words which the initiates recite as it is instructed by the guru

The Guru then offers 'prem-bhaja'consisting of a flour mixed with four fluids of the human body (urine, male semen, and menstrual blood of women or phlegm and feces ).This prem-bhaja is sometimes made into the shape of small marbles while at other times it is formed into small round cakes. Sometimes female juice called ' rasa' as it oozes out is also mixed with human milk in the making of 'prem-bhaja'.

The Guru also shows them different method of sexo-yoga sadhana leading to birth control because after they are initiated they would not be allowed to have children .The initiates then take the names of Allah, Hari , Muhammad, Krishna, Karim and Kala

As the two are initiated, they are brought out from the secret chamber blind folded with both hands tied with a white strap. Then a mock funeral procession is held.
They are led by the Guru to the Mazar of either his dead Guru or to the Mazar of another senior Guru. Generally the 'Diksha' or Initiation ceremony takes place during 'urus' of Lalon Shah at his Seuria Mazar located at the Lalon Academy premises. They now move around the mazar seven times singing mourning or funeral songs, a kind of dirge which recount how the initiate and his female partner have forsaken or renounced once for all their previous life. They also sing in the name of one Bharati Goshain, who in her life renounced rich and aristocratic life and took begging for her livelihood. Then, go from door to door begging, as they do not care for anything worldly. They cannot conduct normal social life or participate in any social activities. They have no claims or responsibility towards the members of their family, which they have forsaken.

Sadhu-sheba

Among the Bauls, Lalon Shah or Shain is held in high esteem. He is the oldest Baul spiriutual leader who died 113 years back at the age of 116 in the village Seuria where his Mazar is now located. The 'Sadhusheba' was introduced by him when, he organized the annual Baul festival on the occasion of Dol-Purnima.

Lalon Shah used to call his festival as 'massava' or 'mahotsava'. On the occasion, people belonging to low caste group and Muslims used to visit him and, they were also entertained by him. For three days, the festival continued. The food he served and the rituals connected with it was called 'Sadhu-Sheba' or service to saints (sadhu).

In the Baul cult meat of all kind is strictly forbidden. Fish, vegetable, yogurt are served. The meals are served three times a day. In the morning a sparse breakfast is servevd. It is called 'Balya -Sheba'. Lunch and supper are called 'Purna-Sheba'. These two are full meals. When taking meals together the Bauls will pronounce: 'Alek Shain or Allah alek shain' jointly in one voice. Prof. Anwarul Kqarim, The Independent, October 2003)

 

 

Thousand Years of Bangla Music

 

The musical program is weaved together chronologically, to narrate Bengal's thousand years old musical tradition. It is divided into 4 segments, to reflect the distinctive phases and styles in Bangla Music. A separate segment is dedicated for children.

First segment: 950 to 1850
Bengal's musical journey started with "Charya Geeti". Both, Bangla Classical and Folk music can trace their roots in Charya geeti. This segment will start with Charya Geeti and will be followed by the songs from "Geetagovinda", "Vaishnav Padavali Kirtan", "Shrikrishnakirtan", "Tappa" and "Brahmmya Shangeet".


Second segment: 1850 to 1930
This period is considered to be the most vibrant phase in Bangla music. Bangla Music, as we know it today, was defined during this period. This segment will showcase five leading literary icons and music composers - Rabindranath Tagore, Dwijendralal Ray, Atulprasad Sen, Rajanikanta Sen and Kazi Nazrul Islam.


Third segment: 1930 to 1970
During this phase, with the advent of new technologies, like Gramophone, Radio, Cinema and television - urban centric Bangla Music started to reach the vast rural populations. These changes transformed Bangla music into a new style, which is popularly known as " Bangla Modern Song". This is the segment, where, the songs by Hemanta, Shondha, Manobendra, SD Barman, Jaganmoy Mitra, Talaat Mahmood, Protima, Arati and by others will take the audience into a journey thru their Childhood.


Fourth segment
This segment is based on musical genre, unlike previous segment. This segment is divided into two parts: Patriotic/Ganasangeet and Folk Music.

Patriotic Songs: The opposition to British imperialism influenced the total creative pursuits of Bengal. Under this backdrop, "Ganasangeet" or "People's Song" in Bengal originated. After the creation of Pakistan, poets and composers from all over East Bengal, produced a host of patriotic songs, reflecting the wishes and aspirations of Bengalees, opposing the colonial Pakistani rule. As the political movements lead finally to the war of Liberation, patriotic songs were written in an ever-increasing numbers. The waning trend of Bangla patriotic songs was rejuvenated in East Bengal. Songs by Mukunda Das, Hemanga Biswas, Salil Chowdhury, Altaf Mahmud, Samar Das, Sheikh Lutfar Rahman, Abdul Latif and others will be rendered in this section.

Folk Music: The History of folk musical composition can be traced back to 8th century A.D., which was the time for growth of charya geeti. Generations of rural poets, composers, created enormous tradition of Bangla folk music, of which "Baul Song" is the most remarkable. "Baul" is a special mystical type, which is a mixture of Vaishnavism and Sufism. The folk songs of Bengal may be classified as being an Emotional and secular, like, Bhatiali; Religious or Sectarian, like, Baul, Vaishnava, and Murshidi; Occasional, cerinomial and occupational, like, Festival songs (Parvageeti), wedding songs, etc. This section will present the songs By Lalan Shah, Hasan Raja, Radha Romon, Abbasuddin and others as well as parts from folk epic "Mymansingha Geetika".

Edited by Qwest - 18 years ago

Folk Music songs and music of a community, uninfluenced by any sophisticated musical rules or any standard music styles. Bangladesh has a rich folk music which includes both religious and secular songs.

Folk music may be described as that type of ancient music which springs from the heart of a community, based on their natural style of expression uninfluenced by the rules of classical music and modern popular songs. Any mode or form created by the combination of tune, voice and dance may be described as music. Thus, the combination of folk song, folk dance, and folk tune may be called folk music. For example, baul songs are a combination of tune, music and dance.

Folk music has the following characteristics: (i) It is composed by rural folk on the basis of ancient rules transmitted orally; (ii) These ancient rules of music have not been influenced by classical or modern music; (iii) Folk songs may be sung in groups or individually; (iv) No regular practice is required for folk music; (v) It is composed and performed by illiterate or semi-literate people; (vi) It is a spontaneous expression in easy language, local dialect, and simple tune; (vii) Both words and tune are appealing; (viii) Despite its universal appeal it uses local dialect; (ix) It depends upon nature and the rural environment; (x) It is an explicit manifestation of the joys and sorrows of daily life; (xi) It uses simple and natural rhythms; (xii) It contains a strong emotive expression of human love and separation.

In Bangladesh folk music has great variety, with songs being composed on the culture, festivals, views of life, natural beauty, rivers and rural and riverine life. These songs are also about social inequality and poverty, about the material world and the supernatural. Mystical songs have been composed using the metaphors of rivers and boats. Since the country is basically riverine, the bhatiyali forms and important genre of folk music. Folk music is formed and develops according to the environment. Differences in the natural environment are reflected in the people of the different regions. The dialects too vary across the different regions. Bangladeshi folk music therefore varies from region to region. Thus there are the northern bhawaiya, the eastern Bhatiyali and the southwestern Baul songs.

The culture and the lifestyle of the different tribes have also influenced folk music. Tribes like the Santal, Garo, Hajong, Chakma, Manipuri, Tripuri, Marma etc. have interacted with ethnic Bengali culture and lifestyle over the years. The interaction has been clearly reflected in the richness of folk music.

Folk songs may be sung individually or in chorus. Folk songs sung individually include Baul, Bhatiyali, murshidi, Marfati, while songs sung in chorus include kavigan, leto, alkap and gambhira. Some songs are regional in character, but others are common to both Bangladesh and west bengal. Similarly, some songs belong distinctively to one religious community, Hindu or Muslim others cross religious boundaries. Some songs belong exclusively to men, others to women, while some are sung by both men and women. Thus only women compose and sing vratagan and meyeli git, but both men and women participate in the 'roof-beating' songs that are sung while beating down and firming rooftops.

Different folk songs belong to different regions of Bangladesh and West Bengal and are listed below:

Baul and spiritual songs: Birbhum and Kushtia.

Jarigan: Dhaka, Mymensingh, Sylhet, Faridpur, Murshidabad.

Bhawaiya: Cooch Bihar, Rajshahi, Dinajpur, Rangpur, Pabna.

Gambhira: Rajshahi, Malda.

Gajan: West Bengal.

Nil Puja: Bangladesh.

Wedding songs: all regions.

Roof-beating songs: the northern regions of Bangladesh, Birbhum and Bankura in West Bengal.

Sari: the lower marshy regions of Sylhet and Mymensingh.

Bhatiyali: nearly all regions of Bangladesh, the regions of Tripura and Shilchar.

Pastoral songs: Dhaka, Mymensingh, Faridpur, Sylhet, Habiganj.

Vratagan and Meyeli Git: both Bengals.

Bhadu Gan: Bankura, Purulia, southern Birbhum and western Burdwan.

Folk music has a basic style of composition and can be classified into four groups: First, tunes consisting of 'Sa Ra Ma Pa', secondly, 'Sa Ga Ma Pa', thirdly, 'Sa Ra Ga Pa', and fourthly, 'Sa Ra Ga Ma Pa'. Folk music strictly follows this pattern which is followed only in classical music. Suresh Chandra Chakraborty has observed two aspects of folk songs such as: (i) lyric songs such as Bhatiyali, Baul etc, and (ii) songs like Bhater Gan which cannot even be properly termed as poetry. All folk songs in the world usually involve the pentatonic scale, which is found in Bangla folk songs as well as in Santal and Garo-Hajang songs.

The folk music of Bangladesh is different from other music not only because of its distinctive mode but also because of the richness of its seventh note. Apart from its tunes, Bangla folk music is also distinct in its rhythm. Many of the ragas in the classical tradition like Abher, Saveri, Malavi, Kanadi, Pahadi, Madh and Vangal have been named after folk music. Classical ragas like Jhinjhit, Desh, Bhairavi, Bhupali, Vibhas etc resemble Bhatiyali which involves the use of a tune belonging to classical tunes such as Khamvaj and Pilu. Quite often it is similar to classical ragas like Bhimpalashri and Patadip. With regard to its style, Bhatiyali comes close to the classical tunes of Khamvaj and Kafi. The traces of Khamvaj or Pilu are also found in the Jhumur. Baul songs resemble the musical ragas of Vehag, Khamvaj, Bhairavi, Vilaval etc. In some folk songs both Bhimpalasri and Khamvaj ragas may be noticed. Two modes of Jhinjhit have been recognised. The first goes only up to the seventh pitch of Dhaivat in classical music. In the second the scale is as follows: Sa Ra Ma/ Pa Ma Ga Ra Sa Na Dha Pa/ Pa Dha Sa Ra Ga Ma Ga/ Dha Sa. In folk music Jhinjhit varies slightly: Sa Ra Ma/ Pa Ma Ga Ra Sa Na Dha/ Dha Sa Sa Ra Ga, Ra Ga Ma.

It should be remembered that in most folk songs the tune of the constant stave and the middle staves is nearly identical. For example, the first few lines of a famous song composed by Gagan Harkara, ami kothay pabo tare/ amar maner manus ye re (Where shall I find him, the man after my heart?), illustrates the use of seven pure notes and sometimes the use of soft melody. The tune mostly used in the Bhatiyali, called Kashauli Jhinjhit, is as follows: Sa Ra Ma, Pa Ma Ga Dha Sa Na Dha, Dha Sa Sa Ra Ga, Ra Ga Sa.

An analysis of folk songs shows a variety of rhythms and tempo. Sari and Jhumur are sung at a quick tempo, and Bhatiyali and Bhawaiya at a delayed tempo. [Mridul Kanti Chakrobarty]

Originally posted by: jayc1234

Hya Barnali'di - amader dal ta besh bhari... ashole Bangla-r ghare ghare gaan-er probhaab ta mone haye sab cheye beshi... tai gaan mone haye bhishan sahaje amader sabai ke kachhe ene deye

😃😃😃 yes too true.

 

Originally posted by: Qwest

 

 

Thousand Years of Bangla Music

👏

thanx qwest as usual wth yur best posts.

 

No playing second fiddle, any more

SUHRID SANKAR CHATTOPADHYAY
in Kolkata

A recent performance in Kolkata underscores the gradual emergence of women Baul singers from the shadows of their male companions, as independent artists.

BY SPECIAL ARRANGEMENT

Baul singers at a musical event in Kolkata. Dwija sudra itar bhadra
Nai re bhedabhed bichar
Brahman, Kshatriya, Sudra
Mile mishe ekakar. - Krishna Dasi (female Baul). (Brahmin, Sudra, the high and low/ There is no difference/ For the Brahmin, Kshatriya and Sudra/ Are all mingled together.) IN rural West Bengal, they can still be seen, wandering from village to village, singing songs for a few rupees, and maybe food. They are Bauls - itinerant minstrels living on the periphery of society, watching it from outside, objectively yet not dispassionately, and incorporating what they see in their lyrics (sometimes with humour, but always with a profound spiritual message). The word Baul comes from the Sanskrit word batul, which means mad, but not in a pejorative sense. In fact, their madness stems from love of the 'Infinite Self' they believe to be present in every human being. They are a kind of grassroots mystics. The impact of these singers/songwriters is not restricted to rural Bengal. Through their simple tunes, rudimentary instruments and allegorical lyrics, they have captured the imagination of the world and have made a major impact on the international cultural scene. The most famous living Baul, Purna Das, even found a place on the cover of Bob Dylan's 1968 album John Wesley Harding. Folk songs all over India have an old tradition, from Kashmir to Kanyakumari and from Rajasthan to Assam. They are often sung to celebrate religious festivals or the harvest, or with tribal dances. The tradition, however, is not unique to India. The Middle Ages threw up such itinerant folk singers in many countries and cultures - the troubadours of Europe, for instance. But what sets Bauls apart is a distinctly mystical strain in all their songs. The lyrics often use an esoteric language called 'sandhya bhasa' (words with hidden meaning). Besides, Bauls come from both the Hindu and Muslim communities; their object of worship is no conventional God or Allah, but 'moner manush' (the man within) who can be reached by anyone through love and devotion. Scholars have traced the roots of the Baul tradition and its popularity to the Bhakti Movement of Kabir, Nanak, Meerabai, Gondol, and so on, which swept the cultural scene of India in the Middle Ages, drawing upon the monotheism and egalitarianism of Islam, the love songs of Sufi mystics and, of course, the Hindu Vaishnav tradition. Their main musical instruments are the ektara and the dotara (single and double string strumming instruments) and the khole, the kartal and the dugdugi (rudimentary percussions). Rabindranath Tagore recognised the philosophy of the Bauls and the beauty of the songs and through his works made them acceptable to the Bhadralok (Bengali gentleman). In his youth, Tagore befriended some Bauls, notably Lalan Fakir, and composed a number of songs to be sung in the Baul style. In many of his plays, there are characters representing the 'Baul' leitmotif - not only in songs, but also in outlook and appearance. Bauls defy all social conventions, religious dogmas and caste taboos; they do not recognise traditional deities or conventional rituals. For instance, Lalan Fakir, in one of his oft-quoted songs, talks about the futility of caste distinctions: Everyone asks what is your caste, Lalan?
Says Lalan, what test to apply?
A Muslim man can be told apart from Hindus
Because of circumcision.
But what about the women folk?
A Brahmin you can identify by his sacred thread
But what about a Brahmin woman? The words strike at the root of religious bigotry and fundamentalism, caste prejudices and gender biases, and uphold the unity of humankind. This is a common trait of all sects of Bauls, differently known as Bairiagi, Sahajiya, Darbesh, Sain, and so on. All of them believe in the 'God within' and to approach Him they need a guide, called a guru. Women have a significant role in the religious and metaphysical sadhana (seeking) of Bauls. They are inseparable companions of the men, and Bauls insist on love and respect for their women. "He who does not know the feeling of tender love, must be avoided always," goes one song, and another says: "A woman is not a treasure to be trifled with." BUT gender bias dies hard. Baul women (Baulanis, as they are called), though constant companions of the men, have almost always remained in the background - dancing, providing the rhythm and lending their voices to the chorus. In other words, always playing second fiddle to the men. It is only recently that they have come to the forefront. It is in this context that a recent musical soiree, Baulanir Gaan (songs by female Bauls), organised in Kolkata by the Eastern Zonal Cultural Centre in collaboration with Muktashilpa, a cultural organisation, assumes significance. Solo performers such as Sandhya Dasi, Subhadra Sharma, Uma Dasi, Krishna Dasi and Sumitra Dasi kept the audience enthralled through the evening. Their male companions were present, but not on stage. Hailing from different districts of West Bengal, such as Birbhum, Nadia and Bankura, some of them initially started performing with their fathers, husbands or male companions, and later branched out on their own. Some of them have even travelled abroad. In many cases, they are the sole breadwinners for their families. But the two magazines, Hriday and Raktamangsha, which have taken up the laudable task of bringing their songs to the limelight, lamented that despite their professional excellence, Baulanis were still accorded the second place. All this does not seem to make any difference to Baulanis. Krishna Dasi from Basirhat in North 24-Paraganas district told Frontline: "I have led the life of a Baulani from a very early age. When I am on stage, only my song exists. At that point of time, I am not aware of being either a man or a woman. I am just aware of my song. My sisters [other Baulanis] and I live with our songs." A wandering life dependent on the charity of listeners is by no account an easy one; and it is all the more difficult for women. But for Baulanis, there can be no other way of life. Sandhya Rani Dasi was only three years old when she started wandering with her father. Even though she is now married with children, she still cannot resist the call of the road. "It's not just when we need money that my husband and I go wandering with our songs. When we are singing, I don't feel we have a home. For the last 25 years my dotara has been my one constant companion and that is the way it shall remain for the rest of my life. Even when I grow old and my body becomes feeble, even if there is no stage for me to sing my songs, I shall continue to wander with my songs till I die," she told Frontline. Sometimes, the road takes Baulanis beyond the boundaries of West Bengal, and even India. Uma Rani Dasi has toured France, Switzerland and some countries in Africa such as Morocco, with her songs. "Basically, we are just singers who consider the whole world their home. Baul is a religion that is universal, in which everyone is included," she said. In all their wanderings, Baulanis have never deviated from their basic philosophy, but that has not deterred them from incorporating the changing times in the themes of their songs. The careful listener will find subtle differences between the songs of Baulanis and those of their male counterparts. The modern Baulani is very much aware of her feminity, and her songs of liberation and emancipation of the self can also be applied in the context of the social status of women. An example of this can be found in the words of Subhadra Sharma, a Baulani from Nadia: Kobe hobe swajal borosha rekhechhi shei bhorosha/ Kotodine jabe amar bhagnadosha (My hopes rest on the purifying rains that will come and liberate me.) Subhadra, a graduate, has intentionally retained her surname, instead of opting for the title Dasi or Baulani. "I don't feel I deserve that title yet," she told Frontline. "My aim is to serve life and to know myself within. Only through that will I be able to get a glimpse of the truth and be one with the universe." Though they will never deny a song to anyone, publicity and fame are usually not at the top of Baulanis' priority list. Yet, their influence among the younger urban generation is considerable in West Bengal, and they are fast gaining immense popularity, something that Krosswindz, one of the most well-known Bengali folk-rock bands of Kolkata, acknowledges through its music. Vikramjit Banerjee, the lead guitarist of the group, told Frontline: "Baul music is something we have always been influenced by, both philosophically and musically. There is absolutely nothing pretentious or false about this music, which at the same time is also very profound. We are absolutely certain that this sound can be global." The lead vocalist of the group happens to be a woman - Chandrani Banerjee.

Essentially, Baul music in its original form was meant for the poor and the uneducated. The simplicity of its form and deliverance makes it easily understandable. As a result, this form is also used in advertisements for children's vaccine shots and other social messages. According to Dr. R.K. Samaddar, deputy director of the Eastern Zonal Cultural Centre, this kind of music was dying as an art form. But gradually, it is finding its place in the mainstream; and what is most important, the Baulani is getting her rightful place on the stage and the recognition that has been due to her for centuries.

 

Mysticism has always been an integral part of the thoughtful Bengali psyche. However modern we claim to be, every Bengali worth his or her salt feels the pull of the roots and the quest for something beyond the material world is always present. Religion plays an important part in our lives but organised religion sometimes fail to provide the right answers for the innermost questions. It is perhaps the major reason why the more orthodox form of Islam found it extremely difficult to find a foothold in this region. It is the mystic Sufis like Shah Jalal, Khan Jahan Ali, Shah Makhdum, Mahi Sawar, et al who were more influential in the spread of Islam.

Now, Lalan Fakir is not a traveller in their paths. He is more like the other great sage of the sub-continent, Kabir. Like the dohas of Kabir, Lalan's song speaks about the special bond that exists between the creator and creations. Both hit out against the self-serving clergy and their message transcends religion. Today, his followers belong to all religion. But more than that, Lalan songs are greatly appreciated by the educated urbanites.

. Many who do not believe in the Baul philosophy are also moved by Lalon's melody. The well-known intellectual Serajul Islam Chowdhury is one such person. "I am a materialist. I believe in this world and the other one interests me but little. However, I love the music of Lalon for its sheer lyrical quality. The keen interest that modern Bengali literati have for Lalon is nothing new. Rabindranath Tagore's profound interest in the mystic poet is quite well known. But, more of that later. To understand Lalon, we have to know about his beginnings.

Lalan Fakir was born around 1774 in Harishpur, Jhenaidaha - a district of Bangladesh. Many today question whether he was a Hindu or a Muslim. It was a question that would have mattered very little to the man in question. Yet the fact is, he was born in a lower cast Hindu family. According to all indications he apparently led an unremarkable life until during a pilgrimage he caught the dreaded small pox. His condition rapidly deteriorated and even his friends left him thinking that he was dead. Then happened one of the almost miraculous incidents that seems to be common of many great personalities.

A Muslim woman brought him to her home and she and her husband nursed him back to life. They introduced him to the mystic Muslim saint Siraj Shai. This religious personality had a deep impact on Lalan's mind and in several of his songs we find him mentioning Siraj Shai. As he was in better health he went back home. But a rude shock awaited him there. His family refused to accept him as back because of his staying in a Muslim home and eating with Muslims.

There is no evidence to suggest that Lalan converted to Islam. In any case the Muslim clergy never accepted Lalan as a Muslim. These incidents developed in Lalan's heart a marked disdain for orthodox religions. An important part of his message has been directed against the hypocrisy surrounded with religion. He expressed his belief in the universal message of God and against petty rituals and rigidity. He expressed his beliefs through his superb songs and through his music he pretty soon built up a large following.

He had become a mendicant by travelling on foot and singing of love, humanity, and God. Later on he settled down in Chhenuria, Kushtia. Now, interestingly the family of Rabindranath Tagore were the zamindars (land lord) of that area. Rabidranath was looking after the family estate and regularly visited the area. He was introduced to Lalan and developed a deep affinity toward the man. Many of Tagore's songs have the stamp of Lalan's philosophy. Lalan died in 1890 at Kushtia. More than a century has passed after his death. Yet Lalan and his message are still relevant.

 

The music within us

The Fireflies Festival of Sacred Music was about bringing the inner and outer selves closer in the journey towards peace

MUSIC All musicians got enthusiastic responses from an eager crowd The morning of Sunday the 9th was different for many Bangaloreans: the physical and metaphysical alarm that signals morning was absent. The sun tiptoed in past darkened trees, birds called overhead and a lake lay unstirring under a sheet of mist; a strong-voiced woman keened lyrics that seemed peculiarly appropriate: "Ay mere maula, mujhe ek aur mauka de." Oh God, give me another chance, the song chorused, as it described passionate longing for peace and a desire to clean up the inner city's streets, clogged with unrest. This, in fact, was the theme of the Fireflies Festival of Sacred Music, organised at and by Fireflies, the eco-ashram on Kanakpura Road: how to give ourselves another chance to bring the inner and outward closer together in the journey towards peace. As Siddhartha, the founder of Fireflies, explained: "Like the arrow, which the more you pull inwards, the further it will travel," we need the inwarding. Many in the milling crowds — there were food stalls, and stalls selling craft works made by self-help groups — seemed to be in thrall. One girl exclaimed: "My God, that's the moon out there. I am actually sitting under the moon." The Fireflies Festival of Sacred Music started around 7.30 on the evening of Saturday and went on till the same time the next morning. When it began, the stone amphitheatre was barely a quarter full, and it seemed as if a darkening sky might keep people off, but by 10, several hundred more people had come in and by midnight, it was packed. Though Fireflies has been organising this music festival since 2003, till now it was called Bhoomi Jatre. The idea of the Fireflies Festival of Sacred Music is inspired by the World Sacred Music Festival, held annually at the mystical city of Fes in Morocco and scheduled for June this year. The evening began with a Carnatic flute recital by the father-and-son duo Anantharam-Amit and ended with the rock band Lounge Piranha. In between there was Hindustani sitar, jazz revival, qawwali, rock, fusion and Hindustani vocal. There was also Dollu Kunitha and Baul music. All musicians got enthusiastic responses from an eager crowd, intoxicated with the presence of hundreds of people brought together in easy community, and the smells and feel of a night out in the open. However, some musical forms spoke to the crowds in a compulsive, electrifying way that others did not seem able to: Baul, quwwali and the ritual music of Dollu Kunitha. Oikiotan with Karthik Das Baul (who lent his voice to "Takey Takey" in Mangal Pandey) was probably the most inspiring, and the setting was perfect for this rather wild, mystical musical tradition which celebrates its non-belonging in every song. The Dollu Kunitha and qawwali also caught up the audience in a whirl of shared joy.

That the three musical forms the audience connected with most were all in the literal sense of the word "sacred" isn't coincidental. It foregrounds the old division between "devotional" and "performance" music. While the former draws together, the latter usually stays confined to the personal-experiential. This is something that a festival such as this one needs to consider, and one did hear that next year there would be more such groups.

Edited by Qwest - 18 years ago

Thanx again qwest.

can yu get songs of purnadas baul. I somehow am unable to get. especially the achin pakhi one composed/ceated by Lalon Fakir.