Sandeep Sharma 

   

BAUL SONGS: BEGINNER’S INTRODUCTION 

SANDEEP SHARMA 

 
 Sandeep Sharma 

   

(Image Source: Telegraph)  

‘Baul Song’ (Anonymous) 

Sandeep Sharma, Asst Prof of English, GC Rampur Bushahr 

Structure 

2.0 Lesson Objectives 

2.1 Introduction 

2.2 What it Means to be a Baul?  

2.3 Who Sings the Folklore? 

2.4 Let’s sum up 

 
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2.0 Lesson Objectives 

This chapter is a musical journey exploring some secrets of Baul philosophy,

their spiritual songs and many more aspects associated with it. After reading

this chapter and supplanting your knowledge with videos on ​You Tube and

Sally Grossman’s online “Baul Archive” you will be able to understand

wonderful meanings hidden in the colorful pieces of cloths which the Baul

singers wear, musical instruments Bauls play. Isn’t it interesting? You may

make notes from it or you may underline some important passages with a

pencil. By the time you complete this chapter you will be familiarized with the

Baul, their heterogeneous aspects and linguistic diversity of their songs.

Curious? So without delay let us begin.

2.1 Introduction  

 
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Friends, let us be children again. When we think of our childhood days many of

us will remember our fascination with street performers. Those performers used

to meet us at some bus stand, in a village fare (​mela​) or even at our doorsteps

early morning. No doubt, India is a musical country as we witness it every day.

You already know that India is diverse too. The borders of India touch equally

diverse lands. We are lucky as we not only share borders with our neighboring

countries but also have common legends, traditional healing methods, common

games and food culture, myths and folklore which unify the cultural boundaries

beyond borders. That is interesting, isn’t it? Baul song is one of such unifying

factors of Western Bengal (India) and Bangladesh.

Baul has multiple meanings. Bauls or the Bauls may signify a

heterogeneous community; a particular type of folk song; unusual religious and

mystical practices so on and so forth. Previous sentence does not make it clear

whether to call them Bauls or ​the Bauls. So let us understand the difference
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between Baul and ​the Baul​. What actually matters is the use of definite article

‘the’ which creates huge difference. You may say ‘​the Baul’ which could

vaguely mean the perennial community of performers and ‘Baul’ without ‘​the’

may mean songs which the Bauls sing. Here we will talk of Baul songs alone.

Just like the ​Magh songs and singers of Himachal Pradesh, ​Jangams of

Haryana, ​Golla ​Kalapam art of Andhra Pradesh, ​Bangari art of Hyderabad,

Barahmasi of Chattisgarh and even the ​English ballads, Baul songs are

transmitted through oral tradition. Bauls invoke their Divine Beloved by calling

Him Allah, ​Ahad (the One), ​Monar Manush (the Man of Heart), ​Sahaj Manush

(the Natural Man); ​Sonar Manush (the golden Person); ​Adhar Manush (the

intangible Beloved); ​Acin Pakhi (the unknown Bird); Shai/Sai (the Lord),

Krishna so on and so forth. It is a unifying folklore in other sense as it works like

a ​catalyst which makes a strong bond between Muslim and Hindu peasants. It

also shares common thread of cultural and religious thought with Nepali

Buddhists’ lyrics and Jainism. The entire philosophy of Baul centers around the
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philosophy of ​Dehattaya (Truth in the Body). That is why Baul philosophy is

human centric just like other Tantrik sects.

Baul songs not only unify different countries but also unify the body and

the self of Baul singer with the Almighty God. So there is no denying the fact

that it is folklore of high importance. That’s why the word ‘folks’ has been

knowingly used in the first line of this introduction. Folklore is transmitted orally.

Even the word ‘folks’ has multiple meanings. Some define folk as rural, native,

traditional, or even originating straight from the soul and heart. But we will not

discuss it in detail here.

Shall we place Bauls under the category of folksongs then? Some scholars

doubt it as

according to them Bauls cannot be placed under the umbrella term of folklore.

They believe that Baul songs have religious content in it. There has always

been a conflict between the Baul singers and the temple owners: The conflict of
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granting them and not granting them permission to be the authentic and

respectable singers of religious institutions.

Women Bauls (​Pagli)​ have a lot of respect in the Baul community.

Women Bauls are also called ​nari (woman), ​meye (girl), ​sakti​(the power), ​ma

(mother) and ​prakrti ( nature). Female partner acquires the first position

amongst three types of gurus which the Bauls recognize: ​Diksha Guru,

Shiksha Guru a​ nd ​Bhek Guru.​ Female partner is the highest form of guru-

Diksha Guru​. That is why within the Bauls ​Prakritor Sakti (The Female

Principle) is given more importance than ​Puruja (the Male Principle). But

women Bauls were looked down upon by the then orthodox society. All this is

not something uncommon. From the 14​th Century western religious moment of

Lollards to the eastern temples, history has constantly witnessed dominant

forces centered in and around religious places of worship. This conflict of the
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Bauls and raising voices for granting them a dignified identity in society and its

institutions has naturally resulted into tug-of-war from different quarters.

Let us leave this rope here for a moment to pose a question: Are Bauls

entirely a religious group? This is a question which needs a healthy and

rigorous debate. Anyhow, the ends of this debate will be clarified in the

following pages. Leaving the threads of this debate open let us look at another

disturbing fact. The disturbance we just talked about is of the ever expanding

globalization and speeding information technology. Baul is almost endangered

because of it. Baul song is rare nowadays. On the other hand, the good news is

that only globalization can save it (only if it is redirected in right direction). As

one searches “Baul Songs of Bengal” in ​You Tube almost 55,000 videos

emerge as on date. But you have to be very aware while scrolling down the list.

Your search may lead you to many ​ur-Bauls​. ​Ur-Bauls are those singers who

glamorize Baul songs just in order to fetch fame and money. In doing so the
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traditional essence of Baul song is lost. So it is recommended that you listen to

the pure traditional ones rather than hybrid ​ur-Bauls.​ On the other hand, one

can again pose some questions to oneself for a moment: what is wrong if Baul

song changes with time? If it is endangered what can we do to save it? Can’t

we help rejuvenate this rich heritage of India, of our motherland? ​Let us share 

an idea​. Would you like to set the ring tone of your phone to some Baul song

right now just contemporary Baul signers of ​Lalon lineage have done? But

what is Lalon lineage? To know this you have to read along. So let us read

together.

Some Interesting Facts 

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● Rabindra Nath Tagore has been called “the greatest of the Bauls of

Bengal” by S Dasgupta. National ​Anthem of India and Bangladesh 

written by him were primarily based on Baul songs​.

● The national anthem of Bangladesh (​Amar sonar Banla​) which is written

by Tagore, was based on the melody of the Baul song,"​Kothey pabo

tare, amar maner manus ye re..."

● Worried over its extinction in the year 2005 UNESCO declared Baul

songs an "intangible heritage of humanity" in the category of "Traditional

Performing Arts."

 
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2.2 What it Means to be a Baul? 

Before setting Baul song a ringtone of our cell phones let us know about Bauls

now. To be a real

Baul one has to be mad. In other words, one has to be real ​ba’al or ​khepa

(​mad)​. Scattered hair, long colorful robs form a distinct identity of Baul singers.

Bauls are ​ba’al for Sufis and Baul or mad men (​khepa​) for Hindus. Both are

always in quest of the Divine Heart or the ​Manar Manus​. ​Khepa has now been

accepted as honorific by the Bauls.

Within a broader spectrum, the word Baul is used to define members of

singing community. This nomadic community follows and practices ​Bhakti

(devotional) tradition as also ​shupi​, a genre of sufi songs. They roam around

and collect alms. They are also called ‘emperor without cloths,’ ‘fakirs’ or even

‘transcendental madmen.’
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Baul is pronounced as /’baul/ (​बाउल). In order to find out the origin of its

meaning we have to travel backwards into the time, obviously without a time

machine. So let us go. It is also believed that the word Baul does not originate

from the Bauls themselves. It is a result of the politics of higher class. For them

it was initially used by ​bhadralok (Bengali elite) as a derogative term.

Bhattacarya believes that Baul ​dharma (religion) has been formed around 1625

and 1675 CE. However some believe that it developed in the 17​th Century

following the Sufi principle of ​Fana or the ‘ultimate annihilation of the self.’ The

state of Fana is achieved with meditation, songs and dances. In Bangladesh

primarily follow Sufi tradition. But Baul singers of West Bengal (India) are more

inclined towards Hinduism.

Unfortunately, there is no consensus on the authentic source of origin of

the word Baul and its

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literal meaning. Even its ​etymological origin is disputed. It is believed that the

Bauls did it knowingly as they always wanted to keep their art and its

interpretation a secret. Even in the upper Himalayan regions of Himachal

Pradesh the word ​Baliya is refers to mad person. Some similar sounding words

do appear in other parts of India for pointing at a mad person such as ​Bawala​,

Baawari​ etcetera.

Some scholars believe that the word Baul originates from the Arabic

word ​Auliya​ to ​Aul

or ​Bauliya which through the ages has been modified into the word Baul. But

according to Sri Chand Baul or the word Baul is derived from Bengali word

batula which means mad or insane. This madness is because of the ​vat dosha

(error of the air) in the body also known as “wind disease” as consult the

Ayurveda​. This madness is caused by the imbalance of the element ​vata in

the brain.
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For some, this Sanskrit word, Baul, seems to be having another source

of origin that is

baiyu(​ व
​ ाय),
ु the air. This Sanskrit word implies that the ​sadhna (meditation) of

the Baul requires holding of ​baiyu or the air. But it does never simply mean that

Baul signifies madness caused by air. It is a madness of some spiritual kind.

One may call it the Higher Madness or the Higher Happiness. The madness

with which Mira, the ​prem bawali (mad with love), the devotee of Krishna was

afflicted. Contemporaries of Mira called her mad, even she called herself mad

but keep in mind---​Mira was not a Baul​.

The madness of Bauls is expressed through their spiritual songs. Thus,

their ecstatic

madness has spiritual colors expressing pain of separation from the

Beloved—the ​Monar Manush (the Man of Heart). In this spiritual state of

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madness Bauls seek to know ​rup-svarup t​ attva (the truth of physical body and

its essence) i​ n l​ a mokam (no place or the transcendent space within our

hearts). This madness is directed towards universal humanism encompassing

Puruja​ and ​Prakritor Sakti​ (the male and female principle or energies):

The following Baul song rightly captures the essence of madness of

Bauls singers:

Mad am I; for the lack of that Man I madly run about (Sen

1931:216)

Bauls seek to maintain balance between the Female and the

Male Principle. That is why the Baul community is recognized all over

the world for the practicing indiscrimination with women.

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Some Interesting Facts 

● Japan sponsored and financed the project "Safeguarding of Baul

songs."

● Two Bengali Baul Song Books are published by UNESCO. In

these books one can find transcription and notation of Baul

songs.

● Mahadev Das Baul, the famous Baul singer of West Bengal has

been conferred withthe prestigious Ustad Bismallah Khan Yuva

Puraskar 2011 by the Sangeet Natak Akademi under the

category performing artists of the younger generation.

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● Just like contemporary Bengali Baul songs the Nepali Newar

Buddhist ​caca songs are also believed to be descends of

Siddacaryas'​ songs.

2.3 Who sings the Folklore? 

Baul men wear ocher-colored ​panjabi (a long shirt usually worn with plain

pants). They wear saffron colored turbans to cover their heads. The
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cloths of Bauls can be made up of some colorful patches of cloths.

Women wear saris.

​ aul:
The Bauls have been divided into three main kinds: a) ​Grhi B

the ones who live in a family system; b) ​Udaas Baul: the Bauls who

renounce everything and c) ​Shilpi Baul: the ones who sing and perform

Baul songs. They are brilliant divine poets and composers who without

worldly diplomas or degrees write and sing. They use wide terminology

full of cryptic codes in their songs which are decorated with the concepts

of Sufism, Hindu ​Tantric​ principles, Vaishnava and Sahajiya literature.

While defining the songs of Baul it is to be kept in the mind that

only the Bauls write Baul songs. On the other hand, what a Baul sings or

writes can be called a Baul song. Thus, we can identify Bauls according

to their singing style(s). Under this division we find two primary forms of

the Baul singers: a) ​The Wandering Bauls​: the Bauls who wander

around and collect alms. They use high tonality of voice, songs full of
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strength and pitch, quick and metrical verses and b) ​The 

Non-Wandering  Bauls​: The Non Wandering Bauls usually stay at

home. They sing their songs which have soft and gentle notes, full of

melody.

In Fabrizio Ferrari's "A Baul's Dilemma: Materialist Practitioner or

Mad Mystic?" Bauls have been referred to as the ​slaves  of  the 

Kingdom​. He even calls them the slave singers who "sold their soul to

the market for money." Some Baul scholars refute this demeaning of the

Bauls and putting them into some fixed frame of lower caste singers,

uneducated/illiterate and poor people living in paucity. But Fabrizio

Ferrari quickly defends his stand as he calls them ​bartaman panthi

(traveler of the present). Some even call them ​ulta pathik (​ traveler of

the reverse path) as they go against all social norms.

Despite poverty and worldly deprivation a true Baul never stops.

Baul keeps on performing and reforming society. ​Khamti (genuine) Baul

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prefers to live life of poverty. It is a chosen path in the name of the

Almighty. This moves us the most, doesn’t it?

The Bauls follow their ​Murshids (gurus). For them guru is

everything. Even Rabindranath Tagore said once,” The guru or master

is the one who makes the truth for the Bauls living.” The ​Murshids of

Bauls are said to give forth their predecessors a transmission chart

called ​Shirzanaama.​ With this chart they trace their lineage. The

chronological rendering of lineage of gurus is known as spiritual ​shiris

(the spiritual transmission ladder). Lalon Shah who lived in the 17​th

Century is the most quoted ​murshid​ or fakir of Bauls.

Some Interesting Facts 

 
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● Ferrari proposes a new word ​Baulism which according to him

means the mind set which has "become world music and part of

the global show business.” People of this mind-set who

commoditize the Indic spirituality are said to be inclined towards

Baulism.​

● Taslima Nasreen, the world renowned Bangladeshi writer, often

depicts the Bauls and Baul songs in her works. The romantic

song “​Amar Bhitor Bahire Ontore Ontore” the last song written by

her husband before his death is now a famous Baul song of

Bangladesh.

Chaitanya Mahaprabhu (13th Century), the founder of Gaudiya

Vaishnavism, was the most famous Baul singers of India. Maybe that is
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why in West Bengal the Bauls are given Vaisnava title ​Das​. Whereas, in

Bangladesh they are given the Sufi title ​Shah​. The following song of

Duddu Shah (1841-1911), who was the second Guru in the order of

shiris of Lalon lineage, identifies the Bauls as also renders a clear

identification between Vaisnava sect and the Bauls:

The Baul and Vaisnava religions are not one, brother

[...] the Vaisnava are a distinct sect;

they practice prayer and austerity in accordance to the five ​tattvas​,

they always wear a garland of Tulsi beads.

The Bauls worship Man

where He is eternally manifest,

immersed in the nectar of the Essence.

That's why they take women as their companions.

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That essence which is the cause of life

is itself the practice that Bauls follow.

2.4 Let us sum up 

In this lesson we have learnt that:

● The Baul community and Baul songs is tremendous oral tradition which

is on the verge of extinction.

● Rabindranath Tagore was a great Baul himself as he primarily followed

the Baul philosophy.

There is much to learn on Baul so after reading this lesson let’s move on to the

next section…

1b. ‘Baul Song’ (Anonymous) 

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Sandeep Sharma 

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Structure 

_______________________________________________________________ 

4.6 A Revision 

4.7 Musical Instruments used by the Bauls. 

4.8 Baul Songs (​Baul gan)​  

4.9 Understanding the ​Sadhna Bhasa​ ( intentional language) or ​Sandhya

Bhasa​ (twilight language)

4.10 Let us Sum Up 

4.11 Alphabetically Organized Glossary 

 
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4.12 Important Questions for Practice 

4.13 Suggested Reading 

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4.6 A Revision 

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You might have read the previous section with great interest. Didn’t you? We’re

giving here a short summary of what we have already discussed in the

previous section. We learnt as to how the art of Baul is beyond any

borders. It is one of the unifying factors between the cultural boundaries

of India and Bangladesh. We have learnt some important terms

associated with Bauls. In this section, we’ll continue to explore the

musical world of Bauls. Let’s continue…

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4.7 Musical Instruments used by Baul Singers  

We’re giving a list, as also images of musical instruments used by Baul

performers, for your reading:

1​. Chimta​: Chimta is a percussion instrument. It is a folded piece of metal

which has jingles or sometimes ​manjiras​ attached with it.

2​. Kartal ( hand cymbals): It is a small rectangular shaped instrument made up

of wood with many holes in it. In these holes a small bells are fixed

creating space enough for fingers which hold it.

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3​. Manjira (cymbal): It is a percussion instrument. It has got two cymbals

having holes in the centre. These cymbals are often made up of brass

and are connected together with a cord.

4​.Sarinda:​ It is a stringed instrument which is from the family of the Lute. Its

bottom is made up of hollow wood which is covered with the hide of

animals. During performance it is kept in upright position. It has given

birth to the Indian classical instrument the Sarangi.

5​. Khol:​ It is a two sided drum resembling the Mridangam. It is played with

palm and fingers on the both sides of drumheads. It is tied up with ​gajra​.

Gajra is a structural web of strings made up of hide of animals. The

players hand it on their neck with ​karmapatta​ ( a supporting belt).

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6​. Khanjoni:​ It is an instrument which belongs to tambourine family. In this

instrument pairs of jingles are attached with a small and circular drum.

On one side it is left open. It is played with palm and fingers.

7​. Khamak:​ A small bawl like drum which is attached and plucked with strings.

It is held under the arm of Baul artist. The stings are plucked in a

rhythm. The echo effect produced by the Khamak gives a mystical

dimension to Baul song.

8​. Ghungur also called ​Nupur (ankle bells having properties of idiophone): An

instrument made up of small round bells which is tied with ankles to

produce sound.
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9. Dotara (chordophone) : ​Do means two whereas ​tara means chords. It is an

instrument having two or more than two strings attached with an upright

wooden structure.

10​. Ektara:​ ​Ek means one whereas ​tara means chord. It is an instrument which

has one string attached with a gourd resonator in which bamboo neck is

fixed.

11​. Duggi (membranophone): It is a small drum which is made up of clay and

has the shape of kettle. It is played with fingers and palm.

12. Bamboo flute. 

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Fig 1. Musical instruments used by Baul Singers  

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4.8 Baul Songs 

______________________________________________________________ 

The study of the music of different cultures, particularly non-Western music is

known as

Ethnomusicology​. We will not discuss Baul songs in detail through the lenses

of an ​ethnomusicologist​. Bauls sing religious songs encompassing

philosophies of Sufism, Hinduism and Buddhism.

Baul lyrics have also witnessed songs of Peasant Resistance and

songs of the colonial period in India. That is why one can never ignore historical

importance of Baul song. But the Bauls don’t keep any written record of their
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songs. Maybe that’s why they don’t use any theoretical tools for writing their

songs.

We can even divide and understand Baul songs by putting them

according to the various themes they use in their songs. One such division can

be thematic. Often cited themes in Baul songs are of ​Sahaj Manush ​(the

Natural Man); ​Sonar Manush (the golden person); ​Acin pakhi (the unknown

​ he intangible Beloved); ​Sai or Shai ( the Lord) so on

bird); ​Adhar Manush (T

and so forth.

Baul songs are highly melodious and rhythematic/non-rhythematic

performative art. While performing Baul art, the Bauls often jump and sing while

moving their bodies with rhythm. Their voice is modulated to achieve the effect

of echo which is further supplemented with echoing instrument the ​Khamak​.

This echo further creates mystical effects in the audience.

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That is why the pitch of voice of a Baul singer varies invariably.

Sometimes more stress is laid on the words than music. Important words are

highlighted with higher pitch of voice. Higher pitch of Baul song is brought down

with a lot of ornamentations of voice.

Indian scholars have understood Baul songs with reference to raga

Bilavala​, ​Khamaja​, ​Bihaga and ​Jhinajhoti.​ As mentioned in the previous

paragraph, Baul songs may be composed with rhythm which requires set

numbers of syllables. On the other hand, they can be non-rhythmatic too.

Non-rhythmatic Baul songs may not adopt any specific pattern for

arranging ​syllables ​(for a descriptive note on syllables please read our lessons

“Kafi 7”). Baul singers use stressed or unstressed positions according to the

requirement of melody, importance of word in the context. Some believe that

the prolongement of syllable has symbolic meanings inherent in it. But for
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others, pitch has secret codes and may bear greater significance for the right

comprehension of Baul songs.

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4.9 Understanding the Sadhna​ Bhasa​ ( intentional language) or ​Sandhya

Bhasa​ (twilight language) 

_______________________________________________________________

Baul songs have cryptic language and complicated verses full of riddles and

codes. The ​Lingo of Baul songs contains sacred utterances having lyrically

depth. This language is known as ​sadhna-bhasa (intentional language) or

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Sandhya Bhasha (the twilight language) which is also used in ​Buddhist ​Carya 

songs​. It is believed that ​Murshids know the real meaning inherent in their

songs. ​Murshids transmit their messages through words and performances.

The ​byakha (interpretation) of Baul songs is transmitted through the ladders of

lineage but the seed of interpretation is not transmitted. That is why this

inscrutability of the lyrics of Baul songs makes it inaccessible for many.

Secondly, it has already been mentioned that there is scarcely any

written record of Baul songs. Moreover, the same word or symbol may signify

different meanings according to its varied tones, response of audience,

performance of Baul singers and the context. Bauls use transcendental

symbols in their poetry. So if we really want to understand Baul songs we have

to see its performance, feel it from ​mon​ (heart) and then understand it.

Thirdly, an effort in analyzing translated versions of Bauls songs will

always and already prove insufficient. One cannot entirely rely on the
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translation which is done by the other, supposedly who is not a Baul. The real

essence of Baul Song can be drained in the entire process of translation.

Otherwise also, translation is a slippery process. But every cloud has a

silver lining. Some followers of Baul have already published and translated

anthologies of Baul songs. After reading these texts you can look for online

audios, videos and digital achieve.

Baul songs usually have three or four stanzas. Just like the ​English 

Ballads the use of ​refrain and ​alliteration is predominant in Baul songs. But

what makes Baul song a distinct art is that refrains are repeated in the

​ hanita (request) appears in the last lines. ​Bhanita is

beginning of songs​. B

followed by the use of oral ideograph or signature of the singer/composer. This

signature usually follows with the name of female partner of Baul singer in the

last lines. Here Lalon says:

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asa, chilo mane mane yabo ami brndabane/Bhabapagala ray bamdhane mayar

kache re (I was giving a thought to my heart that I will go to

Vrindavan/ But Bhaba Pagla is attached to Maya).

In the above song, we can clearly identify the use of alliteration in the

words ​mane mane.​ The below written Baul song is a very famous one which

too has the element of alliteration in it :

Hare Rama, Hare Rama, Rama Rama Hare Hare

Hare Krishna, Hare Krishna, Krishna Hare Hare

(in the above song, there is an alliterative recitation of the names of Lord Rama

and Lord Krishna)

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The Bauls use complex symbols in their songs. Bauls even use erotic

symbols showing their inclination towards Tantric sect. Some frequently used

symbols of Baul songs are: ​Phool (flower), ​Neer (water), ​Moner Manus​,

Uncatchable Moon. Uncatchable Man, Golden Friend, ​Sahaj ​Manus (Natural

Man), ​Tribeni (confluence of three rivers), ​Daraza/​ ​Dooar (door), ​Chandra

(moon), ​Padma (lotus), river (symbol of life), boat (human body), two pillars (

human body), unknown bird ( the soul) so on and so forth.

While referring to the home of their Divine Beloved or ​Monar Manus,

Bauls use distinct symbols such as “chamber of light or colors,” "hall of mirrors,"

“City of mirrors,” "​Medina​" and "​Mecca​." They also call God’s home "abode of

ras​,” "blue ocean,""abode of Indra," "abode of Sri," "Vrindavan" so on and so

forth. Baul songs use the symbol of birds for representing the soul such as

‘housing an unknown bird; Body for two pillars having an unknown bird (soul) in

it, tree for producing moon fruit (children) and so forth. Lalon says:
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Milon hobe koto dine amar moner manusherei shoney ( when will I unite with

the Man of my Heart?)

These symbols are more or less a riddle. Let us discuss one example

from Baul songs.

As Tahejaddi says:

puruser mani thake mastake-manir mokame (‘a man's jewel is situated in the

head-at the abode of the jewel’)

Ache Adi Makkah Ei Manab Dehe (‘Beauty flashes on the two-petaled lotus/ the

original Mecca is in this human body’)

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The cryptic symbol of lotus is very similar to the one used in Buddhism.

By reading the below written Buddhist Avalokitesvara mantra we can easily

gather the use of symbols of ​Mani​ (jewel) and P

​ adma​ (Lotus):

Om mani padme hum

Baul singers talk of four kinds of Padmas (lotuses). These four lotuses

(​padma​) of Baul songs are given in descending order:

a) Sahasrdra; B) ​Manipura​ ; c) Khanjandksi and d) Mulddhara.

Baul interpret ​Manipura as the place of jewels. ​Mani means jewel and

pur means the abode. This is literally the right description of the word Manipura.

But in symbolic language of the Bauls, Manipura may refer to a tantric term for

semen. ​Mani may even denote the soul. This symbol of ​mani can be used by a

Baul singer to indicate ​Mulddhara the Chakra​. The meaning of ​mani can even

vary from ​Mulddhara the chakra (the chakra which is present in the form of

 Sandeep Sharma 

   

energy in the networks of blood vessels of spinal cord) to the highest chakra of

meditation ​Sahasrdra​.

As mentioned earlier, we can clearly see as to how Baul song may carry

innumerable meanings according to pitch of the voice of Baul singer, their body

movements or even the context. This creates confusion.

One of the Baul song says:

“In the Muladhar is the mother of the world, and in the Sahasrar

is the father.”

The Bauls also use numerical numbers symbolically. The number 16

may symbolize “enemies,” “rich men,” and “guards.” Sometimes the number 16

is identified separately (10 +6). Here ten refers to 10 doors of human body and

the number 06 refers to the six enemies. In Baul songs these symbols are

frequently used as metaphors to reveal ​byakha​ of ​Sadhna Bhasha. 

 
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4.10 Let us Sum Up 

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The aim of this chapter was to make you well acquainted with the Bauls and

their songs. We came to know that:

o Baul is not a religion or a cult. They are great poets without

worldly degrees or diplomas.

o The Baul is a singing community. They carry oral wisdom

transmitted from their ​Murshids​ ( gurus).

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o The musical instruments which Baul singer use and their pattern

of voice modulation create mystic effects of echo.

o The lyrics of Baul songs are highly cryptic. They use symbols

yoked together with the metaphors.

In this unit, we tried to understand as to how Bauls are facing extinction.

You must not miss to read “Some Interesting Points” which have been placed in

text box.

We hope that you all enjoyed reading. Enjoy Baul songs now!

4.11 Alphabetically Organized Glossary (from Section 1a and 1b)  

You can find the following words and their meanings in the above

lesson. This alphabetically ordered list will help you to revise:

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​ lliteration​, ba’al, Baawari,

Acin Pakhi, Adhar Manush , Acin pakhi, Ahad, A

Baliya, Bangari ​art​, Barahmasi, batula, Baul gan, Baulism, Bawala, bhadralok,

​ uddhist Carya s​ ongs​, byakha, ​Catalyst​,

Bhanita, Bhek Guru, Bihaga, Bilavala, B

Chandra, Chimta, Daraza/Dooar, Dehattaya , Dharma, Diksha Guru, ​English

​ thnomusicology​, ​Etymological ​Golla Kalapam, Golla Kalapam,

ballads​, E

Jangams ​of Haryana​, Jhinajhoti, Kartal, Khamaja, Khamak, Khamti, Khanjoni,

Khepa, Khol, Kundlini, lingo, Lollards, Magh ​songs​, Manjira, M

​ ecca​, ​Medina​,

meye, mon, Monar Manush, nari, Neer, Padma, Pagla, Pagli, Phool, prakrti,

Prakritor Sakti, Puruja, ras, rup-svarup tattva, sadhna, Sadhna Bhasa, Sahaj

Manush, Sai or Shai, sakti, Sarinda, Shiksha Guru, Shilpi Baul, shiris,

Shirzanaama, Sonar Manush, Symbols, Tribeni, Udaas Baul, ulta pathik,

Ur-Bauls, vat dosha and vata.

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4.12 Important Questions for Practice 

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1. What is the difference between the Baul and Baul? Explain with

examples.

2. What status is given to the Woman Bauls in the Baul community?

3. Why were the Bauls not given recognition in the temples?

4. Write a note on the various kinds of musical instruments Baul singers

use.

5. What are the various kinds of themes which frequently appear in Baul

songs?

6. Comment on the language of Baul songs. Give adequate examples to

substantiate your answer.

7. Why is it difficult to understand the meaning inherent in Baul songs?

Elucidate with relevant examples.

 Sandeep Sharma 

   

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4.13 Suggested Reading 

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Baul Philosophy​ by Pūrṇadāsa Bāula.

Mirror of the Sky (REV) (UNESCO Collection of Representative Works:

European) ​translated by Deben Bhattacharya.

Rabindarnath Tagore’s ​On the Edges of Time​.

Sally Grossman’s online ​Baul Archive​ at h​ ttps://baularchive.com

Thank you for reading!

 Sandeep Sharma