Baul song in the ‘ICU' for Uninitiated Artists

Even in modern times, Baul songs remain quite popular. Listeners of all ages enjoy this genre of music. Even if they don’t understand the meaning or essence of the songs, the rhythms still make them dance. However, the number of true Baul artists, those who practice and compose Baul songs, is dwindling day by day. Many current artists do not understand the philosophy of Baul sadhana (spiritual practice) or the lifestyle of Baul sages. They sing without knowing these aspects, resulting in a lack of depth and sincerity in their performances. Consequently, these Baul songs fail to touch the hearts of the devotees.

Baul songs are essentially meant to be performed in ‘akharas’ (spiritual gathering places). There, the sages would explain the body-centric spiritual practices to their disciples through philosophical teachings. Sometimes, the sage would immerse himself in profound personal prayer or self-surrender, creating a deeply spiritual musical atmosphere in the akhara, which is missing in the modern, glitzy stage performances with foreign instruments. These modern urban performances often cause auditory discomfort rather than offering a taste of the true essence of Baul music. In such frenzied Baul gatherings in the city, the so-called educated young generation, without understanding the essence of the songs, merely bob their heads, dance to the beats of metallic instruments, and get excited by seductive lyrics.

Baul artists or Baul sages are those who propagate Sufism, body-centered philosophy, and other ideologies through their songs. They are sometimes referred to as a special group or folk music performers. Originally, Baul music was a form of Bengali Sufi music. Although Baul songs can be traced back to the fifteenth century (there is some debate on this), it was through the songs of Lalon Sai of Kushtia that Baul philosophy gained recognition in Bangladesh and around the world. Bauls lead a simple life, playing the ektara (a one-stringed instrument) and singing while traveling from village to village. In 2005, UNESCO declared Baul songs one of the world’s intangible cultural heritage masterpieces.

Bauls are generally categorized into two types: renunciant Bauls and household Bauls. Those who leave home after initiation (Bek Khilafat) by a guru are called renunciant or ascetic Bauls. These Bauls are completely detached from family and society, relying solely on begging. They wander from akhara to akhara, staying temporarily. On the other hand, household Bauls live with their families in a designated neighborhood.

However, nowadays, those who claim to be Baul artists often lack proper initiation and dedication to spiritual practice. They sing a song and upload it on YouTube, feeling proud to call themselves Bauls. They perform across the country, often prioritizing appearance over substance. If the performer is a beautiful woman, the focus is more on dancing provocatively than on the song’s melody, rhythm, or lyrics. Their performances are characterized by off-key singing, shouting, and distortion of traditional Baul songs. Despite this, the few remaining veteran Baul gurus continue their spiritual path, adhering to the traditional teachings and melodies. However, the new generation of Baul singers is more interested in gaining instant fame and establishing themselves as star performers, with little regard for the original Baul melodies, lyrics, or messages.

Bauls are liberal and non-sectarian spiritual practitioners who preach humanity’s message. Baul philosophy shows influences of Vaishnavism and Sufism, with a strong emphasis on knowing the soul. According to them, understanding the soul leads to understanding the Supreme Being or Creator. Since the soul resides in the body, they consider the body sacred. Although not traditionally educated, Bauls have conveyed profound life philosophies. However, contemporary Baul singers often deviate from the lifestyle and values of true Baul sages. Educated youths sing Baul songs in their own styles, altering the melodies and rhythms to make them more rhythmic and energetic, thus prioritizing excitement over the song’s essence. Some artists even fuse Baul music with other genres, further distorting the original structure of Baul songs.

To understand this phenomenon better, I spoke with several Baul artists who believe this is a generational gap. With changing times, the singing style of Baul songs has also changed. Traditional Bauls used to wear their distinctive ochre robes, but now, jeans and T-shirts are common. In the past, Baul singers considered their music heavenly and pure, singing out of sheer joy without expecting payment. However, modern Baul singers do not share this sentiment. Even slightly famous Baul artists negotiate fees for their performances, a stark contrast to their predecessors who often lived in poverty and died without proper care.

However, current household Baul artists are more focused on honor rather than being honorable. Amid such realities, Baul artists in Bangladesh continue to practice their music. Baul songs enjoy great popularity in Bangladesh. Whether listeners fully grasp the meaning and essence of these songs or not, they thoroughly enjoy the music. These songs captivate with their enchanting melodies and enigmatic, playful lyrics. Baul artists are often invited to perform at various social, institutional, political, and domestic events. At these gatherings, devotees and listeners joyfully listen to the songs and express their love by showering the artists with garlands of money. At these musical sessions, money flows freely. It seems that in a reality where ordinary people struggle to make ends meet, thousands of currency notes are being thrown at the artists, creating a grand spectacle. One can easily infer how deeply the devotees and listeners are engrossed to throw money at their favorite artists in such a manner.

Fakir Lalon Sai is the paramount sage of Baul practitioners. Through his vast number of songs, Lalon propagated the philosophy of Baul and communal harmony. In the Baul community, he is known as ‘Saiji,’ and his songs are referred to as ‘Saiji’s Kalam.’ Other notable Baul poets include Baul Emperor Shah Abdul Karim, Jalal Khan, Rashid Uddin, Hasan Raja, Radha Raman Dutta, Siraj Sai, Panju Shah, Pagla Kanai, Shitalong Shah, Dwijdas, Haricharan Acharya, Maharshi Manomohan Dutta, Lal Masud, Sula Gain, Bijay Narayan Acharya, Din Sharot (Sharot Chandra Nath), Ramu Mali, Ramgati Shil, Mukunda Das, Arkum Shah, Syed Shah Noor, Ukil Munshi, Chan Khan Pathan, Taiyab Ali, Miraj Ali, Dulu Khan, Abed Ali, Umed Ali, Abdul Majid Talukdar, Abdus Sattar, Khelu Mia, Idris Mia, Ali Hossain Sarkar, Chan Mia, Jamshed Uddin, Gul Mahmud, Prabhat Sutradhar, Abdul Hekim Sarkar, Abul Kashem Talukdar, Baul Sunil Karmakar, Qari Amir Uddin Ahmed, Fakir Durbin Shah, Sheikh Madan, Duddu Sai, Kobi Joydev, Kobi Bijay Sarkar, Bhaba Pagla, Neelkantha, Dwij Mohin, Purnadas Baul, Khorshed Mia, Siraj Uddin Khan Pathan, Abdul Hakim, Aleya Begum, Dalil Uddin Bayati, Matal Razzak, Halim Bayati, Malek Dewan, Khalek Dewan, Abul Sarkar, Shah Alam Sarkar, Akkas Dewan, Monir Dewan, Gosto Gopal Das, among others.

However, in current times, many Baul artists sing these songs without understanding their profound messages. By singing in their own styles and manners, they not only distort the songs but also disrespect the original Baul creators. As time progresses, many argue that while accepting changes in singing styles, it is crucial to maintain the original melodies. Those currently practicing Baul music or researching Baul songs stress that while infusing newness or entertaining the audience, artists should ensure the core message and philosophical essence of the songs remain intact. The sages created these songs with much practice and dedication, embedding a message in each one. Before singing, one should attempt to understand the message the song conveys and strive to preserve the essence of these profound teachings in their renditions.

Tags: Music