Draft:Baul gaan

Baul Songs
UNESCO Intangible Cultural Heritage
Ektara, an instrument used in Baul music performances
Country	Bangladesh
Domains	Social practices, traditional festivals
Reference	00107
Region	South-Eastern Asia
Inscription history
Inscription	2008 (Third session)
List	Representative

Baul songs are a unique stream of the traditional folk music of Bengal. These are spiritual songs belonging to the Baul community, whose compositions reflect the eternal connection between the nature, soil, and existential inquiry of the people of Bengal. The music also expresses messages of equality and humanity. This tradition has been nourished by the philosophical influences of 15th-century Tantric Buddhism, Radha-Krishna devotion, the Vaishnava Sahajiya philosophy, and Sufi mysticism. Some historians suggest that the Baul tradition originated in 17th-century Bangladesh, with Aul Chand and Madhab Bibi as its pioneers. According to researchers, Baul philosophy was born out of a deep yearning to realize God within one’s own body. For Baul practitioners, music is the primary medium of their spiritual pursuit. Through their songs, they express the profound truths of devotion and realization. The ultimate aim of their practice is to perceive the invisible and grasp the ungraspable divine presence believed to reside within every human being.

For a Baul, the body is the sacred land, the guide is the guru, the companion is the woman, the path is melody, and the mantra is the Ektara. Their livelihood depends on alms, yet they do not grieve if they receive none. Their only sorrow lies in not being able to attain the "Man of the Heart"—the spiritual beloved. As their journey of practice deepens, their yearning intensifies; the deeper the sorrow, the more humane the song becomes. Bauls convey their philosophy and thoughts through their music. Although the Baul tradition began in the 17th century, it gained widespread popularity in the 19th century through the songs of Lalon Shah, who is considered the greatest Baul songwriter. It is believed that he composed nearly two thousand songs. Rabindranath Tagore was influenced by Baul music, a reflection of which can be seen in his own writings.

In general, music performed by Bauls is termed Baul songs, which are considered a form of devotional music by the Baul community and categorized under folk music. Although the exact origin of Baul music is uncertain, it is assumed to have existed in Bengal since at least the 15th century or earlier. Prominent figures in the Baul tradition include Lalon Shah, Panju Shah, Siraj Shah, and Duddu Shah. Their compositions and those of other Baul saints are commonly known in rural areas as ‘Bhav Sangeet’ (songs of emotion or realization) or ‘spiritual songs’. Some also refer to them as ‘Shobdogaan’ or ‘Dhua gaan’. Baul songs are generally of two types: Dainya (expressing humility) and Prabarta (expressing initiation or path). From these, musical modes known as Raga Dainya and Raga Prabarta have emerged. However, these 'ragas' are not the classical music ragas, but rather moods used in devotional practice.

Baul song: Gacher pata taka keno hoy na performed by Tarun Khyapa and Ananda Khyapa, Santiniketan.

Features

Like the aesthetic theory of Vaishnavism, the term "raga" holds special significance in Baul music. Here, "raga" refers not to a classical melodic framework but to an intense emotional state of love and longing. It symbolizes the depth of devotion towards the desired beloved. In Baul practice, the cause of their spiritual yearning is often identified as "raga" (e.g., "Aamar hoy na re she moner moton mon / Age janbo ki she rager karon" – “I can't find a mind like mine / Let me first understand the cause of this yearning”). Baul songs are typically performed in two main styles: akhra-based devotional music and performance-based songs outside the akhra. The former is soft, melodic, and rendered in slow rhythm—similar in tone to hamd, ghazal, or naat. Bauls, especially the followers of Lalon Shah, sing this type of song within the akhra in a meditative ambiance.

The latter style is performed publicly during events and is sung in louder tones accompanied by traditional instruments such as the Ektara, dugdugi, khamak, dholak, sarinda, and dotara. Rhythmic cycles like Dadra, Kaharwa, Jhumer, Ektal, or Jhaptal are commonly used. The performers often sing while dancing. In rural areas, Baul songs are sometimes sung in times of illness outbreaks, as a form of spiritual supplication for healing. Bauls may perform solo or in groups. In group performances, there is usually a lead singer, while others provide chorus lines or "pach doyar". While some suggest that Baul songs show influences of classical raga music, these songs are fundamentally categorized as religious folk music, and the evolution of classical music occurred much later than folk traditions. Though modern artists occasionally apply classical ragas in their interpretations, it is not essential to the Baul tradition.

Generally, two melodic patterns are observed in Baul songs: the opening verse (sthayi) carries one tune, while the subsequent verses may follow a slightly different one. At the end, a fast-paced reprise of the second verse is often rendered. The key components of a Baul song are the sthayi and antara. The sthayi may also be referred to as dhua, mukh, or mohora. In fast-tempo songs, the sthayi is repeated after each antara. Some songs include a third section, sanchari, and dancing is also seen in certain performances, particularly influenced by rural panchali music. However, dance is generally absent in the akhra-based songs. Some Baul songs have elements drawn from kirtan traditions, which reflect Vaishnava influence. Nonetheless, Sufi mysticism remains the predominant spiritual underpinning of Baul songs. It is worth noting the stylistic variations between Baul music in West Bengal and Bangladesh. Baul songs in West Bengal show a stronger influence of Sahajiya Vaishnava tunes, whereas in Bangladesh, the Sufi ghazal tradition is more prominent. This latter form is often termed as bhavgān or shobdogān—local variants of emotional and philosophical folk songs.

One recurring theme of Baul music is a sense of melancholic detachment—an undertone of longing and sorrow embedded in its melodies. Another major strength of Baul music lies in its vocal style and performance technique. Though born in a particular region, Baul songs have evolved through various performers across different regions, which leads to subtle shifts in melody and delivery. Even the lyrics may change slightly with geography. For example, when Baul songs from Kushtia are sung in places like Sylhet, Chattogram, Dhaka, Faridpur, Rajshahi, Mymensingh, or Dinajpur, changes can be noticed in the pronunciation, vocal expression, and musical interpretation. Nevertheless, the core melody and message of the songs tend to remain consistent.

Influence and Reach

Baul music gained widespread recognition among the general public primarily through the contributions of the "Baul Emperor" Lalon Shah. Despite being deeply averse to publicity, Lalon created numerous Baul songs during his long musical journey that eventually became widely popular. Even today, his songs are seen as symbols of modernity by younger generations.

Themes such as the earth, humanity, nature, existential philosophy, spirituality, love, and the nation frequently appear in Lalon’s compositions. Although there is no definitive record of the exact number of songs he composed, it is believed that many of them have been lost due to the sheer volume and lack of preservation.

Lalon's music has been praised far beyond the Indian subcontinent and has received global acclaim. Through the efforts of Rabindranath Tagore, Lalon's songs reached the international stage. In 1922, Tagore collected and published 20 of Lalon’s songs in four sections through the *Haramoni* division of an Indian journal. Deeply influenced and inspired by Lalon’s music, Tagore himself would often identify as a "Rabindra-Baul".

Lalon’s legacy inspired the emergence of countless Baul singers across the subcontinent, many of whom later gained significant recognition. His contribution to elevating Baul music to its highest stature is undeniable. Even 125 years after his death, the spirit and consciousness of his songs remain as vibrant as ever.

The magic of Lalon’s music continues to captivate the youth today. Drawn by its allure, many young people passionately perform his songs, keeping the tradition alive. Lalon Shah has left behind a priceless treasury of songs that continue to illuminate hearts across generations.

Notable Singers

The legendary Baul singer Shah Abdul Karim created songs that reflect the joys, love, and everyday emotions of the people of the Bhati region, while also speaking out against injustice, superstition, and communalism. He drew inspiration from the philosophy of renowned Baul saints such as Fakir Lalon Shah, Panju Shah, and Duddu Shah. His spiritual and Baul musical training came from mystics like Kamal Uddin, Rashid Uddin, and Shah Ibrahim Mastan Bakhsh. Shah Abdul Karim practiced various forms of Baul music, including Shariati, Marfati, Nabuwati, and Belayati songs, along with other genres of devotional music.

Baul singer, lyricist, and composer Shah Alam Sarkar was born into a family tradition of Baul music. Though he left formal education to pursue music, he considers music itself his lifelong study. He became widely known for the songs he composed and wrote for singer Momtaz Begum. He has produced over 70 albums for Momtaz and claims to have around 650 albums of his own. From Pahela Baishakh festivals to overnight folk music sessions across the country, he continues to perform. Beyond Momtaz, his songs have also been sung in films by prominent artists like Runa Laila, Sabina Yasmin, Andrew Kishore, and Rumana Morshed Kanak Chapa.

Paban Das Baul and His Role in Popularizing Baul Music

Paban Das Baul is a dedicated devotee of Baul music, whose very name carries the essence of the tradition. Through his tireless efforts, he became globally recognized as a true practitioner of Baulism. From devotion came practice, and from practice came meditation and knowledge. Whenever Baul music is mentioned, Paban Das is one of the foremost names that comes to mind. He could be seen as a model of the Baul tradition.

While many have practiced Baul music, few have achieved international fame like him. Since the 1980s, he took Baul music beyond the borders of his homeland and into the world stage. His performances began gaining immense popularity across various European countries. Millions of music lovers in Europe became fans of Baul music through his singing, leading him to frequently travel to France to perform. Not only listeners but even acclaimed musicians admired his vocal style, which enabled him to collaborate with globally renowned artists.

Until 1997, he regularly traveled to France for concerts and music-related events. It is often said that his fan base abroad, especially in France, grew even larger than in Bengal. In recognition of his contribution, the French government produced a documentary on his life and the lives of Bauls. Filming began in 1977, and the documentary, titled Le Chants Des Fous ("Songs of the Mad People"), was released in 1979. The film portrays how a 7-year-old boy named Kartik receives musical training from Baul masters. Besides Paban Das, several other Baul singers were also featured. The film was broadcast not only in France but across many European countries, reflecting France’s appreciation for Paban Das Baul.

Baul Songs as Part of World Cultural Heritage

Baul songs of Bengal are now recognized as part of the world's intangible cultural heritage. This recognition was granted by the UNESCO. Among 43 oral and intangible heritages identified globally, UNESCO described Baul songs from Bangladesh as an extraordinary creation and declared them a treasure of world civilization. In 2008, UNESCO officially inscribed Baul songs in the list of "Intangible Cultural Heritage of Humanity". Following this international recognition, Baul songs have sparked growing interest both within the country and abroad.

Lalon’s Baul Songs

Among all Baul compositions, the songs of the mystic saint Lalon most profoundly resonate with themes of human welfare. His egalitarian ideals are seen today as the foundation of liberal humanism. Lalon envisioned a society beyond caste and creed, as expressed in his verse: “When will such a society be created / Where Hindus, Muslims / Buddhists, Christians / Will no longer be divided by race or community?”

In the 19th century, Lalon’s songs gained popularity due to their universal appeal. It was largely because of him that spiritual seekers from Hindu and Muslim backgrounds, particularly those interested in the philosophy of the body (*dehatattva*), came together in unified devotion, setting aside communal differences.

Lalon’s disciples and followers played a key role in spreading his music and philosophy. Rabindranath Tagore also contributed to popularizing Lalon’s legacy internationally.

Following Lalon, the Baul tradition and Bengali folk music were further enriched by poets and mystic musicians such as Panju Shah, Duddu Shah, Bhola Shah, Pagla Kanai, Radharaman Dutta, Kangal Harinath, Hason Raja, Atul Prasad Sen, Bijoy Sarkar, Dwijdas, Jalal Khan, Ukil Munshi, Rashid Uddin, Shah Abdul Karim, Rabindranath Tagore, and Kazi Nazrul Islam.

In recent times, Pranab Kumar Satyabrata continues to write Baul songs regularly, preserving and nurturing the tradition in contemporary form.Archived 24 August 2023 at the Wayback Machine

Popularity

Baul music is steadily gaining popularity in both urban and rural areas. Audiences from all walks of life find themselves deeply moved and enchanted by its melodies. The extraordinary popularity of Baul songs can be attributed to their universality and deep sense of humanism.

A major portion of the credit for the international recognition granted to Baul songs by UNESCO goes to Lalon Shah. It is primarily through listening to Lalon’s music that people have become increasingly interested in the Baul tradition. When asked about the significance of UNESCO's recognition, young researcher Simon Zakaria noted that it has significantly increased international interest in Baul music from Bengal. As a result, opportunities have emerged for the preservation and promotion of Baul songs. With the support of the international community, various initiatives can now be undertaken in this regard.

He further mentioned that following UNESCO's announcement, the organization provided financial support for collecting and preserving the lyrics and melodies of Baul music. In response, the Bangladesh Shilpakala Academy launched a project around 2008 to collect Baul songs through fieldwork in the Kushtia District. This led to the publication of a documentation titled *Baul Sangeet*, which featured 500 Baul songs—among them, 100 were translated into English and 150 included musical notation. Additionally, 50 Baul songs were recorded in original voices and tones by local Baul artists and released on CDs accompanying the book.

According to Zakaria, urgent fieldwork should be conducted in Baul-rich regions such as Sylhet, Mymensingh, Netrokona, and Natore, to preserve these priceless songs. Otherwise, many tunes and lyrics could be lost over time. The official UNESCO certificate recognizing Baul songs as part of the world’s cultural heritage is currently preserved at the Bangla Academy’s National Museum of Writers and Literature.

During the mid-1990s, as globalization swept into Bangladesh, Baul music went through a dark period. The dominance of Hindi pop culture and the obscenities of MTV severely overshadowed Bengali music. However, a few noteworthy moments did occur. The collaboration between the band Feedback and Baul singer Abdur Rahman Boyati in the song "Mon amar dehoghorī sandhān kori / Kon mistiri banaiyāchhe" ("O my soul, I search this body-clock / Who is the master builder") became a top favorite among the youth for several months.

Still, the radiant beauty of Baul music remained obscured under the dark clouds of cultural degradation. It took several years for the music to recover from that phase. But the renewed expression of Baul songs in the 21st century is unlike any earlier period—it emerged in a completely new and transformative form.

In 2005, UNESCO formally declared Baul songs as one of the most treasured oral and intangible heritages in the world.