Saturday, May 9, 2009
Friday, May 8, 2009
Influence
Lalon Shah had a perceptible influence on the poet Rabindranath Tagore, who introduced the Baul tradition of Bengal to the world. His own music had been influenced by the diversity of Baul tradition.
In 1963, a mausoleum and a research centre were built at the site of his shrine, the place of knowledge-practices. Thousands of people come to the shrine known in Bengali as akhra twice a year, 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 fakirs and bauls pay tributes to this great mind the subcontinent has produced.
American poet Allen Ginsberg was inspired by Lalon Shah in writing his poem After Lalon, included in the poetry collection "Cosmopolitan Greetings." Ginsberg adopts a poetic style similar to Lalon's own style, frequently repeating his own name within the poem.
Among the modern singers, Farida Parvin is definitely the most notable one as she has recorded so far 300 songs composed by Lalon Shah.
Other notable exponents of Baul music is Shehnaz Baily, whose recorded works are rare but available in Bangladesh.
In 1963, a mausoleum and a research centre were built at the site of his shrine, the place of knowledge-practices. Thousands of people come to the shrine known in Bengali as akhra twice a year, 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 fakirs and bauls pay tributes to this great mind the subcontinent has produced.
American poet Allen Ginsberg was inspired by Lalon Shah in writing his poem After Lalon, included in the poetry collection "Cosmopolitan Greetings." Ginsberg adopts a poetic style similar to Lalon's own style, frequently repeating his own name within the poem.
Among the modern singers, Farida Parvin is definitely the most notable one as she has recorded so far 300 songs composed by Lalon Shah.
Other notable exponents of Baul music is Shehnaz Baily, whose recorded works are rare but available in Bangladesh.
Legacy
Lalon is one of the most brilliant and philosophically insightful minds born in oral and textual traditions who expressed his ideas in beautiful songs and wonderful musical compositions using instruments that could be made by any rural households from materials available at home: an Ektara (a one string musical instrument) and a Dugdugi (a hand drum). The texts of the songs was explicitly written to engage in the philosophical discourses of Bengal continuing since Tantric traditions of the subcontinent, particularly Nepal, Bengal and the Gangetic plains. In Lalon one finds critical re-appropriation of the various philosophical positions emanating from the legacies of Hindu, Jaina, Buddha and Islamic traditions developing into a coherent discourse without falling into the mixes of being syncretic. He is definitely going to occupy a central position in various ecological, feminist and politics of care and responsibility aiming radical transformation of the society.
Works
Lalon has composed numerous songs and poems which depicts his philosophy.Among his favorite songs are khachar bhitor auchin pakhi, jat gelo jat gelo bole, dekhna mon jhokmariay duniyadari, paare loye jao amay, milon hobe koto dine, aar amare marishne maa, tin pagoler holo mela, etc.
The songs of Lalon gives subliminal exposures to the reality/truth that lies beyond our material plane/realism. They give a feel of the indescribable. To an engrossed listener, his songs briefly open and close a narrow passage to peep through to the other world beyond the opaque glass ceiling of this world. Lalon sublimates the findings of the principal oriental philosophies and mysticism, foremost of which would include a) Achinta-vedavedbad of Lord Chaitanya (the anitonomous realism of individual soul and Supersoul, both of which eternally coexist. The yarning of the individual soul to unite with the Supersoul, both of whom reside within the same individual body, which we are all gifted with. This eternal journey strives to achieve the infinitesimal proximity between the two, and as it progresses it becomes difficult to distinguish the journey itself from the salvation/mokshya/nirvana); b) sufism, c) Kundalini Yoga (transcending of the individual soul through the six chakras), d) the mirroring of microcosm and macrocosm in all dimensions of the spiritual domain; and e) panentheism . Lalon has demonstrated ultimate dexterity of literary minimalism.
Lalon's songs tersely refute any absolute standard of 'right and wrong' which claims to pass the test of time. His songs show the triviality of any attempt to devide people both materially or spiritually.
The songs of Lalon gives subliminal exposures to the reality/truth that lies beyond our material plane/realism. They give a feel of the indescribable. To an engrossed listener, his songs briefly open and close a narrow passage to peep through to the other world beyond the opaque glass ceiling of this world. Lalon sublimates the findings of the principal oriental philosophies and mysticism, foremost of which would include a) Achinta-vedavedbad of Lord Chaitanya (the anitonomous realism of individual soul and Supersoul, both of which eternally coexist. The yarning of the individual soul to unite with the Supersoul, both of whom reside within the same individual body, which we are all gifted with. This eternal journey strives to achieve the infinitesimal proximity between the two, and as it progresses it becomes difficult to distinguish the journey itself from the salvation/mokshya/nirvana); b) sufism, c) Kundalini Yoga (transcending of the individual soul through the six chakras), d) the mirroring of microcosm and macrocosm in all dimensions of the spiritual domain; and e) panentheism . Lalon has demonstrated ultimate dexterity of literary minimalism.
Lalon's songs tersely refute any absolute standard of 'right and wrong' which claims to pass the test of time. His songs show the triviality of any attempt to devide people both materially or spiritually.
Philosophy
Lalon left no trace of his birth or his 'origin' and remained absolutely silent about his past, fearing that he would be cast into class, caste or communal identities by a fragmented and hierarchical society. Despite this silence on his origins, communal appropriation of this great politico-philosophical figure has created a controversy regarding whether he is 'Muslim' or a 'Hindu' -- a 'sufi' or a follower 'bhakti' tradition -- a 'baul' or a 'fakir', etc. He is none, as he always strove to go beyond all politics of identities. Lalon Fakir sang, “People ask if Lalon Fakir is a Hindu or a Mussalman. Lalon says he himself doesn’t know who he is.”[2]
Lalon does not fit into the construction of the so called 'bauls' or 'fakirs' as a mystical or spiritual types who deny all worldly affairs in desperate search for a mystical ecstasy of the soul. Such construction is very elite and middle class and premised on the divide between 'modern' and 'spiritual' world. It also conveniently ignores the political and social aspects of Bengal's spiritual movements and depoliticizes the transformative role of 'bhakti' or 'sufi' traditions. This role is still continued and performed by the poet-singers and philosophers in oral traditions of Bangladesh, a cultural reality of Bangladesh that partly explains the emergence of Bangladesh with distinct identity from Pakistan back in 1971. Depicting Lalon as 'baul shomrat' (the Emperor of the Bauls) as projected by elite marginalizes Lalon as a person belonging to a peripheral movement, an outcast, as if he is not a living presence and increasingly occupying the central cultural, intellectual and political space in both side of the border between Bangladesh and India (West Bengal).
To understand the Baul, is to understand the state of nothingness associated with his rejection, by which it is not to be construed, as a willing suspension of disbelief, nor a reckless abandonment of responsibility or that of becoming inordinately fatalistic. It is a living quest to go back to the dynamics of where it all began: to our infancy as much as the first moments of creation. It is a quest we cannot undertake without some prodding assistance, albeit to our well charted ‘roots’, if we have one? Clearly, life is a blessed moment of procreation and an extension of the continuous cycle of Mother Nature which rolls on over, when we know all too well, it is also a process that simply cannot be rolled back.
It is in context of looking for meanings to living, versus that of death which is as an instant, if not completely the end of reasoning, and the probabilities of a life devoid of answers to the future and where it ultimately places us, is the harrowing spectre Man is condemned to life in his living. This premise of not knowing where ‘everything’ if ever ends is one that significantly dilates the implication and importance of NOW.
Lalon does not fit into the construction of the so called 'bauls' or 'fakirs' as a mystical or spiritual types who deny all worldly affairs in desperate search for a mystical ecstasy of the soul. Such construction is very elite and middle class and premised on the divide between 'modern' and 'spiritual' world. It also conveniently ignores the political and social aspects of Bengal's spiritual movements and depoliticizes the transformative role of 'bhakti' or 'sufi' traditions. This role is still continued and performed by the poet-singers and philosophers in oral traditions of Bangladesh, a cultural reality of Bangladesh that partly explains the emergence of Bangladesh with distinct identity from Pakistan back in 1971. Depicting Lalon as 'baul shomrat' (the Emperor of the Bauls) as projected by elite marginalizes Lalon as a person belonging to a peripheral movement, an outcast, as if he is not a living presence and increasingly occupying the central cultural, intellectual and political space in both side of the border between Bangladesh and India (West Bengal).
To understand the Baul, is to understand the state of nothingness associated with his rejection, by which it is not to be construed, as a willing suspension of disbelief, nor a reckless abandonment of responsibility or that of becoming inordinately fatalistic. It is a living quest to go back to the dynamics of where it all began: to our infancy as much as the first moments of creation. It is a quest we cannot undertake without some prodding assistance, albeit to our well charted ‘roots’, if we have one? Clearly, life is a blessed moment of procreation and an extension of the continuous cycle of Mother Nature which rolls on over, when we know all too well, it is also a process that simply cannot be rolled back.
It is in context of looking for meanings to living, versus that of death which is as an instant, if not completely the end of reasoning, and the probabilities of a life devoid of answers to the future and where it ultimately places us, is the harrowing spectre Man is condemned to life in his living. This premise of not knowing where ‘everything’ if ever ends is one that significantly dilates the implication and importance of NOW.
Life
The details of Lalon's early life are controversial and impossible to verify. Lalon also recorded very little information about himself, as he considered his spiritual endeavors to be a private matter. As a result, accounts of Lalon's life are often contradictory and unverifiable. However, a general backstory of Lalon's early life exists in the popular culture.
Around the age of sixteen he was found floating by the bank of Kaliganga river, suffering from smallpox. He was taken to the home of Maulana Malam Shah and his wife Matijan, who brought him up. Lalon was in a near comatose state for many months and when he recovered lapsed into complete amnesia from which he never recovered in life.
Though Lalon's origins are unclear, it is believed that he had no formal education and lived in extreme poverty
Around the age of sixteen he was found floating by the bank of Kaliganga river, suffering from smallpox. He was taken to the home of Maulana Malam Shah and his wife Matijan, who brought him up. Lalon was in a near comatose state for many months and when he recovered lapsed into complete amnesia from which he never recovered in life.
Though Lalon's origins are unclear, it is believed that he had no formal education and lived in extreme poverty
Controversies shroud Lalon and his songs
Today marks the 118th death anniversary of Fakir Lalon Shah (1774-1890), the most prominent guru of the five schools under Baul traditions. Fakir Lalon Shah's calibre lies in his ability to raise some universal questions in the simplest of ways.
Nowadays, preservation of the authentic tunes and lyrics of Lalon songs has become a hot topic, after UNESCO proclaimed the traditional Baul songs ofBangladesh
The confusion related to Fakir Lalon Shah and his philosophy surfaced after a few scholars, NGOs and government institutions such as Lalon Academy Complex and pseudo Bauls started promoting different interpretations of Lalon's verses as well as organising programmes on Bauls with the primary objective of drawing foreign funds.
Questions have been raised regarding the authenticity of lyrics, tunes and philosophies of Lalon songs. Several intellectuals have interpreted Lalon's biography and philosophies in different ways, which is confusing for the average individual.
A controversy regarding Lalon's religion continues to ensue, since a few scholars during the Pakistani period wanted to label him as a Muslim. Lalon expert Dr. Abul Ahsan Chowdhury, a teacher ofKushtia University
Fakir Anwar Hossain, known as Mantu Shah, a cult leader who is also the convenor of Lalon Mazaar O Shebashadan Rakkha Committee, said, “He was neither a Hindu nor a Muslim, rather developed a new doctrine called Ohedaniat, which we follow. However, we are not allowed to visit the shrine of our Guru Lalon Shah, as some infamous influential locals have barred it."
Ohedaniat combines different traditions of devotional rites such as Shahajiya of Buddhism, Shahajiya of Vaishnavism, Sufism and several other. And the verses by Lalon are called Kalaams by his followers, which are the doctrines of the devotional rites of Ohedaniat.
Fakir Lalon Shah is unique in that in his verses he has interpreted dehotatwa in his own way. Lalon in many of his verses on dehotatwa has implicitly provided guidelines on how to go beyond the 'physical state' to attain the metaphysical. A layperson perhaps cannot fathom the inner meaning, but these songs are the base of secret devotional rites, centring on the belief that the human body is the seat of all truth.
Many scholars have added new words and many have written verses following Lalon's style and claimed them as Lalon's. Moreover, a few have written Lalon's biographies with serveral contradictions.
The Lalon Shah entree in the Banglapedia, national encyclopaedia ofBangladesh
In fact it was not Siraj Sain, but Maulana Malam Shah who picked up the child and adopted him, and Shiraj Shah was Lalon's mentor.
When Professor Sirajul Islam, chairman of Asiatic Society of Bangladesh was asked to comment on the issue, he told The Daily Star, “We have noticed that one Lalon exponent's research varies from the other, however, everyone claims his work as the 'most authentic' one. We will crosscheck the issue.”
And the correct number of Lalon songs is always a controversial issues as some Bauls claim the number of songs composed by Lalon to be up to 10,000 whereas veteran Lalon devotees such Fakir Bader Shah and Mantu Shah claim the number is just over 2000.
The problem is that after so many years of Lalon's death many pseudo Bauls have labelled songs composed by other Baul Gurus as Lalon's. For example, many songs composed by Gopal Shah, Adam Chan, the followers of Sati Mayer Ghar, have been later claimed as Lalon's by pseudo Bauls inIndia
"Many songs that conclude with words “Lalon boley" are not essentially composed by Lalon Shah. The diction and philosophy delivered in these songs are totally different from the authentic verses by Lalon. Many Bauls have added “Lalon boley" in their own compositions to popularise the songs, a phenomenon that made the documentation of authentic Lalon songs more difficult,” said Lalon expert Dr. Abul Ahsan Chowdhury.
Mantu Shah has preserved authentic lyrics of Fakir Lalon Shah in his book titled Lalon Sangeet (three volumes). He is using the manuscripts of Fakir Maniruddin Shah, a direct disciple of Fakir Lalon Shah. Maniruddin Shah was authorised by Lalon to note down the verses, for the documentation.
Mantu Shah has been working on the documentation since 1960. To quote him, “I've travelled to different areas both inBangladesh and India
Professor Dr. Abul Ahsan Choudhury said, “Most of Fakir Maniruddin Shah's manuscripts are now untraceable. It is an appreciable effort by Mantu Shah, who under the guidance of seasoned Fakirs and Lalon singers is documenting the authentic lyrics of Lalon. He has so far presented over 800 songs, which is the largest documentation of Lalon songs in the country.”
Moreover, authenticity regarding the tunes of Lalon songs is also equally controversial. Three types of tunes of Lalon songs are familiar in the country: Akhrai tradition, blending of Akhrai tradition and classical music and fusion of western music with Akhrai tradition.
As Akhrai tradition is oral, the tunes vary from singer to singer. And tunes of Lalon songs presented by the traditional bauls is different from that of the urban Lalon singers such as Lalon exponent Farida Parveen, who try to blend classical music with Lalon songs for a more polished presentation. And a few rock/fusion bands these days are trying to blend the Akhrai tradition with western music.
According to the experts, Lalon composed about 2000 verses. The manuscripts by Fakir Maniruddin Shah were composed by another disciple Fakir Manik Shah. At that stage, verses were considered simply as the manifestation of discourse of Ohedaniat. Subsequently, Fakir Maniruddin Shah, and his disciple, Fakir Khoda Bakhsh Shah, attempted to put these Kalaams into a particular frame of music. Khoda Bakhsh's disciple, Amulya Shah, was a reputed musicologist who set the Baul songs, in particular Lalon songs, to music. These songs were further developed by his disciples.
Analysing these facts, experts believe that it is imperative that all of the manuscripts of Fakir Maniruddin Shah should be collected from personal collections and then preserved. Lalon music experts must be involved to verify the authenticity of the lyrics as well as the tunes.
Nowadays, preservation of the authentic tunes and lyrics of Lalon songs has become a hot topic, after UNESCO proclaimed the traditional Baul songs of
The confusion related to Fakir Lalon Shah and his philosophy surfaced after a few scholars, NGOs and government institutions such as Lalon Academy Complex and pseudo Bauls started promoting different interpretations of Lalon's verses as well as organising programmes on Bauls with the primary objective of drawing foreign funds.
Questions have been raised regarding the authenticity of lyrics, tunes and philosophies of Lalon songs. Several intellectuals have interpreted Lalon's biography and philosophies in different ways, which is confusing for the average individual.
A controversy regarding Lalon's religion continues to ensue, since a few scholars during the Pakistani period wanted to label him as a Muslim. Lalon expert Dr. Abul Ahsan Chowdhury, a teacher of
Fakir Anwar Hossain, known as Mantu Shah, a cult leader who is also the convenor of Lalon Mazaar O Shebashadan Rakkha Committee, said, “He was neither a Hindu nor a Muslim, rather developed a new doctrine called Ohedaniat, which we follow. However, we are not allowed to visit the shrine of our Guru Lalon Shah, as some infamous influential locals have barred it."
Ohedaniat combines different traditions of devotional rites such as Shahajiya of Buddhism, Shahajiya of Vaishnavism, Sufism and several other. And the verses by Lalon are called Kalaams by his followers, which are the doctrines of the devotional rites of Ohedaniat.
Fakir Lalon Shah is unique in that in his verses he has interpreted dehotatwa in his own way. Lalon in many of his verses on dehotatwa has implicitly provided guidelines on how to go beyond the 'physical state' to attain the metaphysical. A layperson perhaps cannot fathom the inner meaning, but these songs are the base of secret devotional rites, centring on the belief that the human body is the seat of all truth.
Many scholars have added new words and many have written verses following Lalon's style and claimed them as Lalon's. Moreover, a few have written Lalon's biographies with serveral contradictions.
The Lalon Shah entree in the Banglapedia, national encyclopaedia of
In fact it was not Siraj Sain, but Maulana Malam Shah who picked up the child and adopted him, and Shiraj Shah was Lalon's mentor.
When Professor Sirajul Islam, chairman of Asiatic Society of Bangladesh was asked to comment on the issue, he told The Daily Star, “We have noticed that one Lalon exponent's research varies from the other, however, everyone claims his work as the 'most authentic' one. We will crosscheck the issue.”
And the correct number of Lalon songs is always a controversial issues as some Bauls claim the number of songs composed by Lalon to be up to 10,000 whereas veteran Lalon devotees such Fakir Bader Shah and Mantu Shah claim the number is just over 2000.
The problem is that after so many years of Lalon's death many pseudo Bauls have labelled songs composed by other Baul Gurus as Lalon's. For example, many songs composed by Gopal Shah, Adam Chan, the followers of Sati Mayer Ghar, have been later claimed as Lalon's by pseudo Bauls in
"Many songs that conclude with words “Lalon boley" are not essentially composed by Lalon Shah. The diction and philosophy delivered in these songs are totally different from the authentic verses by Lalon. Many Bauls have added “Lalon boley" in their own compositions to popularise the songs, a phenomenon that made the documentation of authentic Lalon songs more difficult,” said Lalon expert Dr. Abul Ahsan Chowdhury.
Mantu Shah has preserved authentic lyrics of Fakir Lalon Shah in his book titled Lalon Sangeet (three volumes). He is using the manuscripts of Fakir Maniruddin Shah, a direct disciple of Fakir Lalon Shah. Maniruddin Shah was authorised by Lalon to note down the verses, for the documentation.
Mantu Shah has been working on the documentation since 1960. To quote him, “I've travelled to different areas both in
Professor Dr. Abul Ahsan Choudhury said, “Most of Fakir Maniruddin Shah's manuscripts are now untraceable. It is an appreciable effort by Mantu Shah, who under the guidance of seasoned Fakirs and Lalon singers is documenting the authentic lyrics of Lalon. He has so far presented over 800 songs, which is the largest documentation of Lalon songs in the country.”
Moreover, authenticity regarding the tunes of Lalon songs is also equally controversial. Three types of tunes of Lalon songs are familiar in the country: Akhrai tradition, blending of Akhrai tradition and classical music and fusion of western music with Akhrai tradition.
As Akhrai tradition is oral, the tunes vary from singer to singer. And tunes of Lalon songs presented by the traditional bauls is different from that of the urban Lalon singers such as Lalon exponent Farida Parveen, who try to blend classical music with Lalon songs for a more polished presentation. And a few rock/fusion bands these days are trying to blend the Akhrai tradition with western music.
According to the experts, Lalon composed about 2000 verses. The manuscripts by Fakir Maniruddin Shah were composed by another disciple Fakir Manik Shah. At that stage, verses were considered simply as the manifestation of discourse of Ohedaniat. Subsequently, Fakir Maniruddin Shah, and his disciple, Fakir Khoda Bakhsh Shah, attempted to put these Kalaams into a particular frame of music. Khoda Bakhsh's disciple, Amulya Shah, was a reputed musicologist who set the Baul songs, in particular Lalon songs, to music. These songs were further developed by his disciples.
Analysing these facts, experts believe that it is imperative that all of the manuscripts of Fakir Maniruddin Shah should be collected from personal collections and then preserved. Lalon music experts must be involved to verify the authenticity of the lyrics as well as the tunes.
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