[jyotirmoy]

The Bauls of Bangladesh and Bengal are primarily itinerant beggars, known for their
nonconformist lifestyle and unconventional approach to religion. Baul songs often express
an inspired longing for union with the divine. They are usually sung by a solo performer,
accompanied on a one-stringed instrument called an ektar. The melodies feature wide intervallic
skips and are often sung in a triple meter. Baul is one of the few widely known and appreciated
types of folk music in Bengal. Baul is not only a kind of music, it is basically a Bengali
religious sect. The members of the sect are themselves called Bauls, and the songs they sing
are named for them, Baul-gAn (Baul songs). It has been suggested that, etymologically,
the word derives from Sanskrit word "Vatula" means "affected by the wind disease, mad".
On the other hand, it might be derived from Sanskrit word "Vyakula" means "restless, disordered".
The Baul costume consists of a half-dhoti and an alkhalla ( saffron robes). Another noticeable
identifying signs of Baul is their hair style. They don't cut their hair, so a manner has
been devised for coiling it neatly atop the head in a bun. They also wear a kind of necklace
made of beads formed from the stems of the basil plant (tulsi).

Among the three B'sof Bengali folk music - Baul, Bhaoyaiya and Bhatiyali- Baul is distinguished
from the others textually as religious music. The texts of bhatiyali and bhaiyaiya, though they
may concern of Radha and Krishna, are mainly about the problems of love in separation or
unrequited love. In Baul-gan, however, though songs of similar nature occur, they are thought
of as allegories on the state of separation existing between the souls of men and the spiritual
ground.

The instruments, extensively used by the Bauls are Gopiyantro, khamak, dotara, ghungur, nupur
and duggi. Gopiyantro, often called "ektara" means one string and that is the most popular
instrument for a Baul singer. The ghungur or nupur are always used in conjunction with
gopiyantro or khamak. The baul singers also use "dotara" ( two strings) as their paraphernalia.
Kartal/mandira and premjuri are used as the adjunct idiophones by the singers.


Some exponents of Baul music
Lalon Phakir(1774-1890) is the most famous Baul of all ages. The attitude of the Bauls regarding
caste has been nicely put by him, "What form does caste have ? I have never seen it, brother,
with these eyes of mine!"
Purno Chandra Das is the most widely known Baul today. Like Purno, his father, the late
Naboni Das Khepa, was the best-known Baul of his generation. From his early childhood,
Purno travelled widely with his father, learning his songs and performing with him.
At age seven he won a gold medal for his singing at a music conference at Jaipur,
the pink city of India. Although Purno Das has become widely popular as an entertainer,
he is criticized both by his peers and by some of the urban elites for his lifestyle and
for having transplanted Baul-gan to new performance context.

Another exponent of this area is Yotin Das Baul. He is originally from the Dinajpur area
of North Bengal but he spends much of his time on the road, performing at various village
festivals. His manner of performance is more sedate and mellifluous. That's why he is not
that famous as he deserves on the basis of his repertoire and musical competence.

Sonatan Das Thakur Baul, another Baul artist was born at Khulna, Bangladesh. Sanatan is
particularly appreciated for his attractive dancing which, like his singing, has more
conscious artistry about it than that of most Bauls. He is one of the few Bauls who is
occasionally asked to perform on All India Radio Calcutta.

The way my braid is, that's how it will stay. I won't wet my hair. I will get into the water,
I'll splash water around - But I won't get wet.

In this extract from a poem about the promises made by Krishna's consort, Radha, the paradox
is interpreted as her remaining unattached and unconsumed by life's pleasures even
if she enjoys all of them.

The poem is an example of poetry by the Bauls, musicians and poets originally from Bengal.
Purna Das Baul says it is this beauty of Baul poetry that touches people's souls wherever
he performs.

[SoulCurry]

Thanks for the informative post, Jyoti.
Off-topic: A very long time ago, I'd heard a song which went "kay jaash...". The tune sounded as though it was on the lines of a bhatiyali song. I recall a friend telling me the song had been composed by S.D. Burman's wife. Any idea what I'm talking about? (Clearly I don't )

[Gulabi]

Jyotirmoy! Kya haal hé? So good to see your the post about the Bauls... Once again it brings back some good memories. I hope to be off to Cal some time this year and hook up with them for some more of these magic moments. You know the ones I mean!!

[jyotirmoy]

Hey Gulabi.... my god where had u been? Who told you about this home???????????

[Gulabi]

Ha,ha, I"ve been off-line for a bit. Found this page the LP site funny enough..
Should be back in Delhi in July or August.

[jyotirmoy]

Gulabi, on May 12 2006, 08:37 AM, said:

Ha,ha, I"ve been off-line for a bit. Found this page the LP site funny enough..
Should be back in Delhi in July or August. cool give me a buzz while in Delhi

[gautam]

Something interesting:

The changing Santal music scene and more
In conversation with Rathin Kisku
Ahsan Habib
http://www.thedailys...ry.php?nid=8738

Rathin Kisku is a representative of new generation Santal singers who are shaping the Santali music scene today. Kisku has made an innovative introduction of 'Santali baul' songs, inspired by the Bangali tradition, while keeping himself rooted in Santali culture.

Recently, Kisku from Birbhum, India was on a visit to Dhaka to perform at the “Mother Language Festival” on the Santal life and culture at Goethe Institut.

“Traditionally Santals used to render songs on themes including harvesting, marriage, love, mourning and creation, accompanied with madol, flute and other traditional instruments. Now many western, electronic instruments are being used in these performances. Though the songs are close to the roots and perhaps superior in terms of artistic achievement, the audience seems to appreciate music that is very much contemporary and responsive to the need of the hour. That's why, I believe, new genres of songs are being introduced in recent years,” Kisku says, commenting on the changing pattern of Santal songs.

In his artistic pursuit he has combined the distinct styles of Bangla and Santal songs to produce 'Santali folk' (baul songs in Santali language). For some time now, he has been working on this genre and the result, says Kisku, has been appreciated by the Santali audience. “Though the Santals are not used to hearing baul songs being rendered in their language, they have welcomed my effort,” he says.

He started training under Monjit Das Baul. He participated in a number of baul song contests and the outcome was quite impressive. “Soon I came to realise that I have to go beyond that and so we formed a group,” Kisku says. German scholar Martin Kampchen's support came in handy to achieve Kisku's ambition.

At present the musician is studying Hindustani classical music in Shantiniketan and receiving further lessons on baul music from master singer Nitai Das Baul.

Well aware of the distinct culture of the Santals and its strength, Kisku sought inspirations in his roots and started performing in the Santal language, though in the beginning he used to sing only Bangla songs. He sets forth to popularise Santal songs. In this connection he has released an album of Santal songs titled Siring Santiniketan (Santali Songs of Shantiniketan). His other album Pran Bhore Gai, produced by HMV, is a collection of Bangla baul songs.

He has travelled to Kolkata, Delhi, and different parts of Jharkhand, Bihar and all across the Santal Parganas. He has achieved the distinction of being the only 'Adivasi baul'. His growing reputation as a Santal singer made way for him to represent his culture in Germany and Austria in 2005. He is receiving a scholarship now for 3 years to continue his endeavours in music.

Whether his practice of Bangla songs would potentiality be a threat to his mother tongue, he replies in the negative, “I am singing in both Santal and Bangla. Considering the mixed cultures of Bengalis and Santals we are living through in our locality, I feel there is no harm in exchanging different expressive resources that can be beneficial for both the cultures.”

“I wish to try out more innovative ideas on music to gain greater acceptance without forgetting my roots,” says Kisku.