Baul

The Baul ( bn, বাউল) are a group of mystic minstrels of mixed elements of Sufism, Vaishnavism and Tantra from Bangladesh and the neighboring Indian states of West Bengal, Tripura and Assam's Barak Valley and Meghalaya. Bauls constitute both a syncretic religious sect of troubadours and a musical tradition. Bauls are a very heterogeneous group, with many sects, but their membership mainly consists of Vaishnava Hindus and Sufi Muslims. They can often be identified by their distinctive clothes and musical instruments. Lalon Shah is regarded as the most celebrated Baul saint in history.

Although Bauls constitute only a small fraction of the Bengali population, their influence on the culture of Bengal is considerable. In 2005, the Baul tradition of Bangladesh was included in the list of Masterpieces of the Oral and Intangible Heritage of Humanity by UNESCO.Masterpieces of the Oral and Intangible Heritage of Humanity
UNESCO. 25 September 2005.

Etymology

The origin of the word ''Baul'' is debated. Some modern scholars, like Shashibhusan Dasgupta have suggested that it may be derived either from Sanskrit word ''vātula'', which means "enlightened, lashed by the wind to the point of losing one's sanity, god's madcap, detached from the world, and seeker of truth", or from ''vyākula'', which means "restless, agitated" and both of these derivations are consistent with the modern sense of the word, which denotes the inspired people with an ecstatic eagerness for a spiritual life, where a person can realise his union with the eternal beloved – the ''Moner Manush'', who lives in the heart).

History

The origin of Bauls is not known exactly, but the word "Baul" has appeared in Bengali texts as old as the 15th century. The word is found in the ''Chaitanya Bhagavata'' of Vrindavana Dasa Thakura as well as in the ''Chaitanya Charitamrita'' of Krishnadasa Kaviraja. Some scholars maintain that it is not clear when the word took its sectarian significance, as opposed to being a synonym for the word ''madcap, agitated''. Bauls are a part of the culture of rural Bengal. Many attempts have been made to ascertain the origin of Bauls but there is wide disagreement among scholars. But they agree that no founders have been acknowledged either by Bauls themselves or others. Bauls are divided into several named groups, each following a named Hindu or Muslim guru. Besides, there are other communities who later identified or affiliated themselves with Bauls, like ''Darbesi'', ''Nera'' and two sub-sects of Kartabhajas — ''Aul'' and ''Sai''. The Bauls themselves attribute their lack of historical records to their reluctance to leave traces behind. Dr. Jeanne Openshaw writes that the music of the Bauls appears to have been passed down entirely in oral form until the end of the 19th century, when it was first transcribed by outside observers.

There are two classes of Bauls: ascetic Bauls who reject family life and Bauls who live with their families. Ascetic Bauls renounce family life and society and survive on alms. They have no fixed dwelling place, but move from one to another. Bangladeshian men wear white lungis and long, white tunics; women wear white saris. They carry , shoulder bags for alms. They do not beget or rear children. They are treated as . Women dedicated to the service of ascetics, are known as "service slaves". A male Baul can have one , who is associated with him in the act of devotion. Until 1976 the district of Kushtia had 252 ascetic Bauls. In 1982-83 the number rose to 905; in 2000, they numbered about 5000.

Those who choose family life, live with their spouse, children and relations in a secluded part of a village. They do not mix freely with other members of the community. Unlike ascetic Bauls, their rituals are less strict. In order to become Bauls, they recite some mystic verses and observe certain rituals.

The bauls of eastern India dress colourfully in orange and red and have a somewhat different way of getting together. There is a big yearly gathering called Jaydeb Mela, taking place in Januari in Kenduli, near Bolpur, which attract bauls and followers in large numbers.

Concepts and practices

Baul music celebrates celestial love, but does this in very earthy terms, as in declarations of love by the Baul for his bosh-tomi or lifemate.
With such a liberal interpretation of love, it is only natural that Baul devotional music transcends religion and some of the most famous baul composers, such as Lalon, criticised the superficiality of religious divisions:

Their religion is based on an expression of the body (''deho sādhana''), and an expression of the mind (''mana sādhana''). Some of their rituals are kept hidden from outsiders, as they might be thought to be repulsive or hedonistic. Bauls concentrate much of their mystic energies on the four body fluids, on the nine-doors (openings of the body), on prakṛti as "energy of nature" or "primal motive force", and on breath sādhana.

Music

The music of the Bauls, ''Baul Sangeet'', is a particular type of folk song. Their music represents a long heritage of preaching mysticism through songs in Bengal.

Bauls pour out their feelings in their songs but never bother to write them down. Theirs is essentially an oral tradition. It is said that Lalon Fakir (1774 -1890), the greatest of all Bauls, continued to compose and sing songs for decades without ever stopping to correct them or put them on paper. It was only after his death that people thought of collecting and compiling his repertoire.

Their lyrics intertwine a deep sense of mysticism, a longing for oneness with the divine. An important part of their philosophy is "Deha tatta", a spirituality related to the body rather than the mind. They seek the divinity in human beings. Metaphysical topics are dwelt upon humbly and in simple words. They stress remaining unattached and unconsumed by the pleasures of life even while enjoying them. To them we are all a gift of divine power and the body is a temple, music being the path to connect to that power. A consistent part of Bauls' lyrics deals with body-centered practices that aim at controlling sexual desire. The esoteric knowledge of conception and contraception is revealed in the lyrics of the songs through an enigmatic language that needs to be decoded by the guru in order to be understood and experienced.

Besides traditional motifs drawn from the rural everyday life, Baul songs have always been inclined to incorporate change and keep pace with social and economic innovations. For instance, modern Baul compositions discuss esoteric matters by using the terminology of modern, urban and technological lexicons, and it is not unusual to hear Baul refrains containing mobile phones, radio channels, football matches and television.

Bauls use a number of musical instruments: the most common is the ''ektara'', a one-stringed "plucked drum" drone instrument, carved from the epicarp of a gourd, and made of bamboo and goatskin. Others include the '' dotara'', a long-necked fretless lute (while the name literally means "two stringed" it usually has four metal strings) made of the wood of a jackfruit or neem tree; besides ''khamak'', one-headed drum with a string attached to it which is plucked. The only difference from ektara is that no bamboo is used to stretch the string, which is held by one hand, while being plucked by another. Drums like the duggi, a small hand-held earthen drum, and ''dhol'' and ''khol