a folk tradition cum a folk religion where the songs of Fakir Lalon Shah ( ) Baul song is not simply an instrument for the amusement of masses but a. Download Lalon Fakir Book in bangla Wordpress bangla pdf ebook download Addhatikotay Sangeet O Shobdo Bangla Spiritual Book. in Lalon*s song* The first and foremost meaning of Laion* s song indicate to know your acquaintance, this means know, nwho are you”? ”Where from you have.
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Lyrics Of Lalon Giti / songs - Free download as PDF File .pdf), Text File .txt) or read online for free. Here you will find some lyrics of Lalon songs In Bangla. Lalon Shah is the founder of a very specialized branch of Bengali folk songs which promoter and institutionalizer of an auspicious new genre of folk song. PDF. Rahman, M. S. A Collection of Literary Essays: Bengali Baul Fakir . Fardia Parvin, singer and an enthusiastic follower of "Lalon Shah" and Lalon's songs she is critical of the new adaptations of "Lalon Geeti".
Some use Malas Hindu rosaries , others Tasbis Muslim rosaries , and so people say they belong to a different religion. Lalon and disciples sings with austere dress up along with indigenous instruments in suitable place or their Akhra and they do not bother the audience. And they belived thatthere is no beauty more true than the beauty of God in the universe that lives within our souls. Religions in India in Practice - "Baul Songs". Among the many unsung heroes of the War, the role of the famed Baul Muksed Ali Shah is exemplary. An album by Mujib Pardeshi for instance sold an astronomical 10 million copies in six month. Edward Jr.
According to Edward C. Dimock, Jr. Masahiko Togawa analyzes the caste theory of lalon and explained the existed debate either Lalon is Muslim or Hindu. The spirituality in context The Sufi and Baul both are keenly interested in making relationship to the spirit as Almighty and finding themself linked to this spirit always through an invisible structure. The links as they mean as the love is developed by the communication what primarily run by the bird At a.
However, meanings and interpretations segregate in different context and sometimes, differences mount at large scale, but the main area of applying spiritual exercise prevails almost same as the will denotes the same destination.
Ghazali, the great Sufi of eleventh-century, he had written a poem in his last illness was kept beneath his head. In it there were the lines: The invisible bird flys always and nobody knows how the bird flies or communicates to Almighty. In a song Fakir Lalon Shah opines, Khancher Bhitar achin pakhi kamne ashe jay,ami dharte parle mano beri ditam pakhir pai.
Aat Kuthuri noi daroja ata, maddhe maddhe jharka kata. Tar opore shadar kotha, aina mahal tai,kemane ashe jai. Brother james This desire is eternal that provokes the Bauls always to seize the supreme invisible Soul or atma. Muhammmad Mansooruddin The divinity in Sufism based on soul connects human body in Baulism through their peculiar and hidden practices with women- involvement that actually, a traditional folk religious way of getting the Almighty.
A Sufi believes in ownself and they coined a hadith that tells Man Arafa nafshu,fakad arafa rabbahu that means He who knows himself he knows Allah. They thinks that the beauty of God in the universe which remains within our souls. Songs of Baul are of love, and of their deep longing for mystical union with the divine within. Their language is simple and the deepest of their thoughts are clothed in home spun words and metaphors common to country-side village folk. Nevertheless,, amidst the simple language, the songs of the Baul contain an extensive, meaningful philosophy that connects to all of their life and aspirations.
The Bauls are unpretentious, free-thinkers seeking their individual enlightenment through their songs. They do not preach or seek to convert but rather they seek to soothe, share, and provoke thought. The songs they sing and the accompanying dances are spiritually meaningful meditations focused on the soul with this goal in mind. From the Sufi's, they took the practice of dance and song as a teaching tool. The Muslims believe that all are on a path to God and that true closeness will be achieved after death and the final judgment.
Many Sufi sects throughout the world use poetry set to song, with instrumental music and dance like movements they call 'spiritual concerts' sama to explain and teach their doctrines The Baul s p a ti es a e fe ale-centered where they try to get eternal feelings refusing sexual demand and make sustainable calm and quite life even they have practice for long life eating or taking some elements forbidden for Muslims.
However, it is very difficult to have a comprehensive explanation of their divinity which is meant as an obscure cult. The singing, dancing and some rituals they performed in a subtle way may be compared to the performance of Sufi in their Khanka, but without the participation of female amongst them.
In latter version, in the Darga of pir female persons are included that is symbol of traditional syncretism in Islam. Lalon and disciples sings with austere dress up along with indigenous instruments in suitable place or their Akhra and they do not bother the audience.
They remained themselves busy with deep devotion as it seemed they are very close to the creater Allah. No doubt about that they get systems and thinking mostly from Sufism and simultaneously, they absorbed all sorts of existed traditional religious thinking from Boudha Shahojjia and Vaisnabism.
The very typical tantric rituals are also seen in their practices.
But, when Lalon sings like a Sufi ,we should keep the things in our mind that he is a mentor or philosopher as well as a great poet. He, sometimes, influenced by the Sufism and used it for his partial fulfillment. However, his song full of veneration that inspires common people focusing the misty realism connecting human life.
Secularity as seen in Baulism Behind the spiritual scenario in most of the songs of Llano shah it is also very common that he had great desire to make a secular Bengali religious society mostly called Manabdharma which includes all rational dicta of other existed classical religions. The remaining class system along with strong sense of caste was practically an indispensable part of every religion ; for lalon ,a direct victim of Hindu caste system, it was a curse which made his personal life as a hell being detached from his mother and wife.
He enrolled to Siraj Shai as a disciple to learn theory of Baulism — a mixture of all religions but violating the norms that might be an obstacle to run their hidden and special type of devotion; with a so called bigotry with deep esoteric manner to get Almighty in their midst.
In his song Lalon encompasses on humanity, and his main focusing area is man. It is believed that Lalonn was unlettered and he had no scope to read any type of written things; nevertheless, he achieved deep knowledge from his Guru or other sources a d it as eall outsta di g f o a s atu e to os olog. The iddle aged Bengali Poet Chandidas opines, Oh man, listen to me, Man is above to all Shuno hey Manush bhai,Sabar opar manush shahtya tahar opar nai.
Translation; if you pray man you will be a great man sonar manush. Otherwise you ll lose the root. Allah is rooted in this man as aloklata in the tree and you should take right decision knowing the matter and that will be your real boat to go.
Lalon as a secular mystic poet or mendicant believed that there is no difference between man; man is free from all type of superstition and earthly cannon. He declared that man should be considered on the basis of humanity, nothing else, even the religion or caste or classes need not to be considered. He also said that he does not belong to any caste , any religion.
This declaration is universal where all man is equal in all respect. Lalon says, I do not find any sign of caste in my eyes. A male is made into Muslim by sunnat,but there no rule for women; we can identify a brahmin by the Paita he wears but how can we identify a women.
In every part of the world we are listening on caste,man is make story on it. Lalon said, I have sold my caste in desire-bazar. His comments are open without any hesitation just like a social reformer played role for his society. They gave Lalon land to live where he founded a musical group and remained to compose and perform his songs, inspired by Shiraj Sain, a musician of that village. Lalon lost the sight of his one eye in smallpox. Lalon lived within the zamindari of the Tagores in Kushtia and had visited the Tagore family.
The news of his death was first published in the newspaper Gram Barta Prokashika , run by Kangal Harinath. The cage has eight rooms and nine closed doors; From time to time fire flares out;. Above there is a main room,. Lalon was against religious conflict and many of his songs mock identity politics that divide communities and generate violence.
He believed in the power of music to alter the intellectual and emotional state in order to be able to understand and appreciate life itself. The texts of his songs engage in philosophical discourses of Bengal, continuing Tantric traditions of the Indian subcontinent, particularly Nepal , Bengal and the Gangetic plains. He appropriated various philosophical positions emanating from Hindu , Jainist , Buddhist and Islamic traditions, developing them into a coherent discourse without falling into eclecticism or syncretism.
He explicitly identified himself with the Nadiya school, with Advaita Acharya , Nityananda and Chaitanya.
He was greatly influenced by the social movement initiated by Chaitanya against differences of caste, creed and religion. His songs reject any absolute standard of right and wrong and show the triviality of any attempt to divide people whether materially or spiritually. Lalon composed numerous songs and poems, which describe his philosophy. It is estimated that Lalon composed about 2, - 10, songs, of which only about songs are generally considered authentic.
Also, most of his followers could not read or write either, so few of his songs are found in written form. The songs of Lalon aim at an indescribable reality beyond realism. He was observant of social conditions and his songs spoke of day-to-day problems in simple yet moving language.
His philosophy was expressed orally, as well as through songs and musical compositions using folk instruments that could be made from materials available at home; the ektara one-string musical instrument and the duggi drum.
Songs of Lalon were mainly confined to the baul sects. After the independence of Bangladesh, they reached the urban people through established singers. Many of them started using instruments other than the ektara and baya.
Some started using classical bases for a polished presentation to appeal to the senses of the urban masses. According to Farida Parveen , a renowned Lalon singer, the pronunciation of the words were also refined in order to make their meanings clearer, whereas the bauls' pronunciations are likely to have local influence. In , a mausoleum and research centre were built at the site of his shrine in Kushtia, Bangladesh. Thousands of people come to the shrine known in Bengali as an Akhra twice a year, at Dol Purnima in the month of Falgun February to March and in October, on the occasion of the anniversary of his death.
During these three-day song melas , people, particularly Muslim fakirs and Bauls pay tribute. Among the modern singers of Baul music Farida Parveen and Anusheh Anadil are internationally known for singing Lalon songs.
Lalon has been portrayed in literature, film, television drama, and in the theatre. Prosenjit portrayed Lalan in the Moner Manush , a Bengali film based on the life and philosophy of Lalon. This film directed by Goutam Ghose , won award for the "best feature film on national integration" at the 58th Indian National Film Awards. From Wikipedia, the free encyclopedia.
Mahatma , Fakir. Sai, Sain, Shah. Jhenaidah , Bengal Presidency , British India. Different regions in Bangladesh have their respective traditions of rendering songs.
Likewise all the way from Harinakundu in Jessore to Manikganj and Munshiganj in Dhaka, the style, intonations, ambience and presentation of verses are markedly different.
Baul songs as practiced in Bangladesh are also in many cases vastly dissimilar to those of West Bengal in India. Yet there are seldom any disputes on the matter. At most, any variations or mistakes in the words or lyrics may be quickly pointed out and corrected if there is common agreement via the institution of bahas intervention, debates, enquiry , else they are accepted and may continue as has been practiced in a particular region with not so much as an eyebrow raised.
What is of prime importance more than the tune or rendition methodologies are that the messages embedded and encoded within the verses remain undiluted and coherent. Puritanism of any kind has always been shunned by Bauls. Incorporation of new musical instruments in Baul music Historical records suggest that the Ektaara a single stringed lute was the only musical instruments used inside Akhara premises from the times of Lalon and that tradition continues in many cases even today.
Baul music in its earliest forms was not based on any complex raga of the Indian classical tradition, nor were any taal, beat or accompaniment instruments used. Baul tunes have similarities with folk music from such far off places such as Kazakhstan, Turkmenistan, Persia, Turkey and Iraq, even with complex ones from Carnatic music traditions.
As an independent genre it became recognised over time and after many musical elements, motifs and forms mixed and gave it the complete shape that we hear today. Baul music has traditionally fused with newer trends and ideas. Rusticity coupled with simplicity of the music, was the pre-eminent beauty of Baul music, which remained strictly confined to Akhara centric Shadhus and Fakirs who had no aspirations to become professional singers.
Over time this became a problematic aspect in the spread of Baul music, because all too often singing was off key, as basic tuning methodologies were not understood. These idiosyncrasies in fact added up in creating the Baul music genre which was exceptional and unique. Emphasized within the Akharas as far as approaches to musical instruments are concerned, there has not been a marked shift to the earliest standard fare even to this day.
Staying true to ancient traditions Bauls sing live and without microphones or amplifications of any kind in open air concerts. It is therefore not unusual that many Bauls acquired distinctive vocal skills with high pitch rendition of songs that reaches out to hundreds of assembled listeners. With the general acceptability and popularity of Baul music over the years, saw the incorporation of several instruments to join in as accompaniment.
It was in fact about 2 decades after the tran of Lalon, that Baya or small drum slung to the waist and played with the left hand was included into Baul music.
A Baul with an Ektaara and Baya has since remained the most enduring image in the media. Many even strapped a Payel or Ghungroo small bells to their ankles to improvise and create rhythm.
Initially it was the bamboo flute and the 4 stringed Dotaara, then progressively rhythm instruments such as the mandira, khartaal and jhuri, wooden castanets, later drums such as dhol, khol, naal as much as pakwaz made their steady entry.
The Vaishnavite and Sufi influences in Baul music meant that many instrument favored by the Mughals and other aristocratic and feudal classes such as the Serangi, Shehnai, Santoor, Tabla, Tanpura, Chimta, Khamak as well as harmonium and Sitars made their inroads and sooner than not, became an integral part of Baul music.
The inclusion of various instruments into Baul music were never imposed, but the need and demands of times, because while the music practiced and pursued in the Akhara institution was the base parameters set by the stakeholders themselves, it was gradually moving out of the Akharas and gaining mainstream acceptability.
Since Bauls never believed in any prescribed musical forms nor were they ever dogmatic or puritanical in matters of what instruments can or cannot be used, incorporation of newer instruments and trends thus became inevitable. From Akhara to Palli Geeti and Baul pretenders The inclusion of newer instruments and artist saw the Baul music genre getting enlarged and well defined - engaging and captivating larger audience numbers across a very wide spectrum, as well as connecting urban listeners to their nostalgic roots.
As a genre it was quickly lapped up in particular by aficionados who were not Bauls in any way but shilpis. These were vocal artists with no understanding about the deep spirituality associated with Baul music. Baul pretenders as they were condescendingly referred to by Shadhus and Fakirs have since times post the transition of Lalon been the bone of contentions and many a sore debates. Since Baul music was by now open source and available aplenty in the national heritage, so it was only natural that many artists as well as vested interest staked a claim.
The debate around the times centered on why one has to undergo the rigor of Baul life just to be able to sing the songs of Lalon? The Shadus and Fakirs i. The above debate continues as until today and it will be no error of judgment to state that the Sadhus and Fakirs arguments merit understanding and appreciation. For one, by Baul pretenders had in more ways than one usurped the tradition, and distortions became rampant and routine.
It has painstakingly preserved and continues to nurture all aspects of Baul music. However historical records indicate that differences of opinion into holding on to Akhara authenticity started immediately after the transition of Lalon. Disputes raging for several years among disciples on possession of the Lalon Shrine in Seuria greatly divided and weakened the Baul community.
The important shift to assimilation of Baul music with Palli Geeti general folk music is believed to have been started in by Khoda Buksh Shah, Sr, who was a living, walking archive.
He had consigned most of the estimated verses of Lalon into memory and was also a famed vocalist. His real talents however lay elsewhere. He went on to perform yeomen service to our culture and ancient traditions. It was Khoda Buksh Shah Sr, who saw the strides folk music other than Baul was making among the elite and had become acceptable from fairs, to markets to the sitting rooms of the affluent. Buksh Sr, looked at working on a critical mix of talent, trend and evolving technologies, without in anyway compromising with the Akhara tradition.
It was an exercise in subterfuge, a planned and calculated interventionist maneuvering. Global outreach of Baul music, newer voice schools and instruments specialization By Baul music made rapid yet cautiously progressive strides capturing the imagination of the Kolkata elite. Over time it became a connoisseur art form and found acceptance in the burgeoning urban middle class. Heartened by the initiatives made possible by Khoda Buksh Shah Sr, these newly emerging stakeholders remained loyal to the Akhara tradition yet saw the need for adjustment and a radical change to mindsets.
It commenced with creation and promotion of standalone icons i. The era of professionalism had dawned on Baul music. The age old debate on authenticity got further embroiled in harmful shades of neo-puritanism as well as closet sectarianism. This was harshly criticized by the new exponents of Baul music for they argued that it defeated the purpose of Fakir Lalon Shah who was opposed to any form of puritanism.
Baul music was reaching out to ordinary people in great numbers and shedding of its unnecessarily sacrosanct status. The notable new entry for dissemination of music was All India Radio established in Baul music courtesy the radio was heard all across the Indian subcontinent and the led to newer curiosities as well as a whole range of literature on Baul music, notations and philosophies emerged.
None other than the Nobel laureate Rabindranath Tagore made the most significant contribution in global outreach and understanding of Baul music. The book touched upon and factually documented the Baul belief system and its humanist philosophy. By , helped by many Bengali literati and musical stalwarts Baul music went global.
Baul influenced verses into the Rabindra shangeet repertoire. The foremost of musical disciples of Buksh Sr, was Shukchand Shah a versatile and extraordinarily gifted vocalist. The Amulya-Shukhchand duo thereafter charted a new fusion course, whereby Baul music infused with different musical instruments and influences became hugely entertaining and widely celebrated as it shed off much of the drab, dull and somewhat depressing sounds of the Akhara. This in turn resoundingly addressed two basic areas of contentions, i.
Gurus from the Akhara tradition would train disciples in music regardless of whether the subject was a seeker or a music student and ii. Usage methods in musical instruments itself became a discipline whereby only under the tutelage of a Akhara master would the musicians be guided.
Other than voice training, this phase in Baul music saw the rise of Baul Gurus who introduced and trained disciples in musical instruments such as dotaara, harmonium, violin, khamak, gomok etc and a variety of percussion instrument from pakhwaz, khol, dhol, mandira to prem-jhhuri and kartaal. Pre and Post independence Baul music, Muksed Ali Shah and Farida Parvin The British agenda of divide and rule saw the partition of India in precipitated by severe communal riots in Bengal and divide the Baul movement along sectarian lines.
Most academic discourses of the time spiraled down to polemics centering the identity of Lalon and by default the belief system and unorthodox lifestyle of the Baul community as such. The age old debate of whether Lalon was a Hindu or Muslim was stoked to insane heights.
The spread of Baul music however continued with much of the Akhara institution left intact and Baul music assimilated and thrived within existing paradigms of 'Palli Geeti'. The famed poet Jashimuddin Ahmed wrote extensively about our folk traditions incorporating incognito recognition to Baul spirituality and their connection with nature.
Likewise the Bangla Academy commissioned many scholarly works on Baul music and inducted the verses of Lalon into academic literature. Among the many unsung heroes of the War, the role of the famed Baul Muksed Ali Shah is exemplary. A college student at the time he was conversant with the use of firearms given his prior training with the paramilitary Ansar of which he was then a commander.
After the Pakistan military crackdown in Dhaka on 25th March and elsewhere in East Pakistan, on 29th March , Muksed Ali Shah organized and headed a pincer strike force that successfully conducted a daring guerrilla raid that led to the ultimate eviction of a Pakistan Army camp in Arorapara, outside Kushtia.
Fatalities on the Pakistan side were over killed and startled the then government who set cash reward of Rupees 10, for his head. This prompted him the flee East Pakistan and join the Shadhin Bangla Betar Kendra in India, where he proceeded to assist in the war efforts as a Baul artist and organizer. Among the talents discovered by Muksed was Farida Parvin who by her rendition of the new genre of Baul music blended with both Akhara and modern music genre, went on to create waves in our culture.
Her appearance in Bangladesh Television sealed her berth in the national heritage, which led on to appreciation of Baul music not only in Bangladesh, but also globally.
Baul music — from acceptability to respectability and intervention of fate The history of Bauls as a pacifist, humane and secular movement has traditionally wavered and treaded on the fate and fortune of existing socio-political climate of Bengal at any given time.
It is the consistency of their belief system and their remarkably progressive thoughts while living in the hardship of rural backwaters of Bangladesh that has constantly endeared then to common people regardless of faith, belief or religion. While the Liberation War of Bangladesh in was a watershed year in our destiny as a nation, it was also an important reference point in assimilation and acceptance of Bauls in our cultural life.
When millions of urban Bengalis fled townships and cities to escape brutalities of the Pakistan Army, their shelter were in villages, where for many it was a first time experience to share meals, live on and off with the poorest of the poor — with Bauls being no exception to the rule.
Bauls played a very significant role in inspiring the Mukti Bahini guerrillas in their training camp.