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FOLK SONG OF BENGAL

BENGAL ( Undivided Bengal consisting of Bangladesh and West Bengal) has a long tradition of initiating , revolutionizing and popularizing various musical genre and considered to be the birthplace of two of the most popular musical bands ( Baul and Kirtan –Group song) which has spread across the continents today.

Folk songs

Bengali folk music has a long history. Several people contributed to what has become one of the most important musical influences in lives of Bengalis on both sides of the (West Bengal-Bangladesh) border. Among these are Lalon Fokir, Hason Raja and Ramesh Shill. Abbas Uddin was a key player in popularizing folk music later on. Folk music can clearly be distinguished and classified into several sub-genres:

Styles

Kirtana

The origin of music and the musical notes in Bengal has started originally in Sanskrit through the chanting of Sloka and Mantras and has gradually been contemplated basically into devotional song. Interestingly such styles and composition had been widely influenced in the Vaishabnav era ( 1200-1400AD) and Sri Chaitnya Mahapravu Era ( 1500-1600AD). Sri Chaitanya was a notable proponent for the Vaishnava school of Bhakti yoga (meaning loving devotion to God), based on the philosophy of the Bhagavata Purana and Bhagavad Gita who founded the Achintya Bheda Abheda of Vedanta. Specifically, he worshipped the forms of Krishna, popularized the chanting of the Hare Krishna mantra and composed the Siksastakam(eight devotional prayers) in Sanskrit. His followers, Gaudiya Vaishnavas, revere him as an avatar of Krishna in the mood of Radha, Krishna's eternal consort. https://wiki.riteme.site/wiki/Chaitanya_Mahaprabhu

The downtrodden , Untouchables and the Dalits and many of his followers were influenced by the simplicity of the Sri Chaitanya’s chanting mantras ( Hare Krishna Mantra) and gradually it has been transformed into a musical genre consisting of chanting hymns or mantras accompanied by the instruments such as the harmonium, tablas, the two-headed mrdanga or pakhawaj drum and hand cymbals (karatalas). In the early 18th century Kalachand Vidyalankar, a disciple of Chaitanya, made his preaching popular in Bengal. He traveled throughout India popularizing the gospel of anti-untouchability, social justice and mass education. He probably initiated 'Pankti Bhojon' and Krishna sankirtan in eastern part of Bengal. Several schools (sampradaya) have been practicing it for hundreds of years.

The Dalits in Bengal at that time neglected and underprivileged cast readily accepted his libertarian outlook and embraced the doctrine of Mahabrabhu. His disciples were known as Kalachandi Sampraday who inspired the people to eradiate illiteracy and casteism. Many consider Kalachand as the Father of Rationalism in East Bengal (Purba Banga). REF: https://wiki.riteme.site/wiki/Kirtan

Baul:

Mainly inspired by Lalon Fokir and his Sufi way of living and almost exclusively performed by hermits who have adopted such (Sufi) life style. https://wiki.riteme.site/wiki/Lalon.

Baul is not just one of the many things unique to Bengal. This wandering music cult has a special place in the history of world music. The word "Baul" has its etymological origin in the Sanskrit words "Vatula" (madcap), or "Vyakula" (restless) and used for someone who is "possessed" or "crazy". Originally, the Bauls were nonconformist, who rejected the traditional social norms to form a distinct sect that upheld music as their religion. "Baul" is also the name given to the genre of folk music developed by this creative cult. It's easy to identify a Baul singer from his uncut, often coiled hair, saffron robe (alkhalla), necklace of beads made of basil (tulsi) stems, and of course the single-stringed guitar (ektara). Music is their only source of sustenance: They live on whatever they are offered by villagers in return, and travel from place to place, as it were, on a vehicle of ecstasy. Music of the Heart!

Bauls croon from their hearts and pour out their feelings and emotions in their songs. But they never bother to write down their songs. Theirs is essentially an oral tradition, and it is said of Lalan Fakir (1774 -1890), the greatest of all Bauls, that he continued to compose and sing songs for decades without ever stopping to correct them or put them on paper. It was only after his death that people thought of collecting and compiling his rich repertoire.

Baul Themes

The theme that Bauls deal with in their lyrics is mostly philosophical in the form of allegories on the state of disconnect between the earthly soul and the spiritual world. Often they philosophize on love and the many-splendoured bonds of the heart, subtly revealing the mystery of life, the laws of nature, the decree of destiny and the ultimate union with the divine. A Musical Community

Bauls live like a community, and their main occupation is the propagation of Baul music. But they are the most non-communal of all communities: They have no religion, for they only believe in the religion of music, brotherhood and peace. Predominantly a Hindu movement, the Baul philosophy weaves together different Islamic and Buddhist strains as well. Baul Gadgets

Bauls use a variety of indigenous musical instruments to embellish their compositions. The "ektara", a one-stringed drone instrument, is the common instrument of a Baul singer. It is the carved from the epicarp of a gourd, and made of bamboo and goatskin. Other commonly used musical paraphernalia include "dotara", a multi-stringed instrument made of the wood of a jackfruit or neem tree; "dugi", a small hand-held earthen drum; leather instruments like "dhol", "khol" and "goba"; chime tools like "ghungur", "nupur"; small cymbals called "kartal" and "mandira", and the bamboo flute.

Baul Country

Originally, the district of Birbhum in West Bengal was the seat of all Baul activity. Later the Baul domain stretched to Tripura in the north, Bangladesh in the east, parts of Bihar and Orissa in the west and south respectively. In Bangladesh, the districts of Chittagong, Sylhet, Mymensingh and Tangyl are famous for Bauls. Bauls from far off places come to participate in the Kenduli Mela and the Pous Mela - the two most important fairs held in West Bengal for Baul music. It's hard to think of Bengali culture sans the Bauls. They're not only an intrinsic part of Bengal's music, they're in the mud and air of this land, they're in the mind and blood of it's people. The spirit of the Bauls is the spirit of Bengal - ever-flowing in its society and culture, literature and art, religion and spirituality. Tagore & the Baul Tradition

Bengal's greatest poet the Nobel laureate Rabindranath Tagore wrote about the Bauls: "One day I chanced to hear a song from a beggar belonging to the Baul sect of Bengal...What struck me in this simple song was a religious expression that was neither grossly concrete, full of crude details, nor metaphysical in its rarefied transcendentalism. At the same time it was alive with an emotional sincerity, it spoke of an intense yearning of the heart for the divine, which is in man and not in the temple or scriptures, in images or symbols... I sought to understand them through their songs, which is their only form of worship."

The Baul Influence

Who can't trace the influence of Baul songs in Tagore's Rabindra Sangeet? The mystical nature of Tagore's lyrics is also a product of his affinity to these wandering bards. Edward Dimock Jr. in his The Place of the Hidden Moon (1966) writes: "Rabindranath Tagore put the Bauls on a higher-than-respectable level by his praise of the beauty of their songs and spirit, and by his frank and proud acknowledgement of his own poetic debt to them." The Baul pattern also inspired many other successful poets, playwrights and songwriters of the 19th and 20th centuries. Eternal Entertainers

Bauls are bards, composers, musicians, dancers and actors all rolled into one, and their mission is to entertain. Through their songs, pauses, gestures, and postures, these nomadic mendicants spread the message of love and ecstasy to lands far and wide. In a land devoid of mechanical entertainment, Baul singers were a major source of entertainment. People still love to watch them sing and dance, their narration of folk tales, and even commentary on contemporary issues through highly melodious songs and an extraordinarily high-pitched rendition. Although their lyrics speak the language of the village folks, their songs are appealing to one and all. The songs are simple and direct, profusely emotional, enjoyable, and needs no special knowledge for appreciation.

Baul King

Lalan Fakir is considered the greatest Baul artiste of all ages, and all other later Bauls regard him as their guru, and sing songs composed by him. Among the contemporary Baul singers, the names of Purna Das Baul, Jatin Das Baul, Sanatan Das Baul, Anando Gopal Das Baul, Biswanath Das Baul, Paban Das Baul, and Bapi Das Baul are prominent. Purna Das Baul is undisputedly the reigning king of the Baul clan today. His father, the late Nabani Das "Khyapa", was the most famous Baul of his generation, and Tagore conferred upon him the title "Khyapa", meaning "wild". Purna Das was induced into the folds of the Baul music from his early childhood, and at the tender age of seven, his song won him a gold medal at a music conference in Jaipur.

Purna Das Baul

He received the title of Baul Samrat the Emperor of Bauls, from the President Rajendra Prasad in 1967. His father Nabani Das Baul was a famous yogi who composed a lot of music for Rabindranath Tagore's poems and who wrote many songs. It is because of him that Tagore became so deeply interested in the Baul movement. The beauty and the emotion of Purna Das Baul's voice rapidly gave him popularity. Above all, he was the first Baul to tour abroad. He too made his music evolve by developing new vocal techniques. He has written and composed numerous songs and recorded many albums in India, but also in the USA, in Europe and in Japan. A film has been made on his life story. In India he is considered as a star. As Purna did before him Bapi doesn't hesitate to join other groups. His irresistible rhythm and traditional instruments have attracted the interest of groups such as Zapmama (for whom he composed and recorded the song India on the CD Sabsylma) Joseph Archer, Fun-da-mental, Eat Static, Transglobal Underground (with whom he composed and recorded the song Body Machine on th CD Rejoice rejoice) and Natacha Atlas. One of his composition is part of the soundtrack of Tony Gatliff's film: Mondo. He created a new group Senses fusion with his traditional music and electronic sounds, played on acoustic instruments by musicians coming from any part of the world.

In India also Baul Bishwa is much appreciated by the public who recognize in Bapi a new generation, proud to perpetuate this living tradition. You will be enchanted to discover to what extent traditional Indian music is joyful and make you feel to dance

Purnadas Baul India's Bob Dylan!

Referred to as the Baul Samrat, Purna Das Baul, introduced Baul songs to the West during an eight-month tour of the US in 1965 with stars like Bob Dylan, Joan Baez, Paul Robeson, Mick Jagger, Tina Turner, et al. Dubbed "India's Bob Dylan" by the New York Times in 1984, Purna Das Baul has played with Bob Marley, Gordon Lightfoot and Mahalia Jackson and the likes.

Baul Fusion

Along with sons Krishnendu, Subhendu and Dibyendu, Purna Das Baul is planning a special tour of the US, intended to reunite an array of top stars around Baul music. Their fusion band 'Khyapa' is all set to unveil their Baul fusion at the US folk-rock-jazz-reggae fest in 2002. Then there is the grand tour of the US and Japan with concerts in New Jersey, New York City and Los Angeles. Purna Das is also hoping to rope in Mick Jagger to sing Baul gaan in Bengali on stage and on record. 'Khyapa' is also optimistic about a show with Bob Dylan, the long-time friend of Baul gaan.

Bhandari:

Devotional music from the South (mainly Chittagong)

Bhatiali:

Music of fishermen and boatman, almost always tied by a common raga (mode), sung solo

Bhawaiya:

Song of bullock-cart drivers of the North (Rangpur)

• Gajir geet: tradition song from the North (Rangpur)

• Gombhira: song (originating in Chapai Nawabganj, in the North) performed with a particular distinctive rhythm and dance with two performers, always personifying a man and his grand father, discussing a topic to raise social awareness

• Hason Raja: devotional songs written by music composer Hason Raja (from Sylhet near Assam) that was recently repopularised as popular dance music

• Jaari: song that involves musical battle between two groups

• Jatra Pala: songs associated exclusively with plays (performed on-stage) that usually always involve historical themes presented in a very colourful way

• Kirtan: devotional song depicting love of Hindu god Krishna and his (best-known) wife, Radha • Pala: songs from the haor (lake) area in Sylhet, Kishoregonj, and Netrokona usually performed on stage live by folk singers • Kobi gaan: poems sung with simple music usually presented on stage as a musical battle between poets • Lalon: best known of all folk songs and the most import sub-genre of Baul songs, almost entirely attribute to spiritual writer and composer, Lalon Fokir of Kustia (Western Bangladesh, near the border with West Bengal).