At a recent event organised by ICCR, Farida Parveen, one of the leading exponents of Baul Samrat lalon Fakir, performed some of the singer's famous compositions. Utpal K Banerjee learns from her the four major doctrines that define lalon's songs
In the erstwhile Indian sub-continent, there have been many seers who preached the universal message of social and spiritual amity. Especially in the culture of West Bengal and Bangladesh, lalon Fakir from the 19h century was one such savant who is considered as an icon of religious tolerance and whose songs inspired and influenced many poets, social and religious thinkers, rejecting all distinctions of caste and creed. Both praised and criticised in his life-time and after his death, lalon sang of a society where all religions and beliefs are in harmony. He established lalon Akhara (academy) at Cheuriya, near Kushtia of Bangladesh, was regarded as the founder of the Baul music and is treated universally as the Baul Samrat (Emperor of Bauls).
Today, Baul music is mostly performed by itinerant mendicants who are followers of Sufism in Bengal. Their songs incorporate simple words embodying deep thoughts on creation, society, life-style and human emotions. The songs are performed with very little musical support beyond ektara (one-stringed drone); dotara (two-stringed drone); country-flute (made from bamboo); and cymbals.
Bhakti Utsav, recently organised by the ICCR, featured a concert by Farida Parveen, one of the most popular musicians from Bangladesh and considered a leading exponent of lalon songs. She began with the very last song that lalon was known to have composed: I’m waiting rudderless for redemption at my life’s end, do rescue me, O merciful one…
She had a robust voice and great earnestness in her musical rendering. The second and third songs had the famous librettos: You’ve built such a house in the void; all glory to you… and close to my own household-doors is the mirrored city where a single neighbour lives but is never seen…
The fourth and fifth songs were relatively less heard — Where does my Master reside … and whosoever seeks to cross the river may fetch the messenger’s boat… The sixth song was the noted, iconoclastic lyric, demolishing caste and creed: Everyone enquires which sect is lalon’s, yet I had never seen a sect’s inner appearance…
The seventh, eighth and ninth were the refreshing and liberating lyrics: An evil wind blew down the cage-door, making the bird fly away…; Which is the day when I do unite with the man of my heart..., and the final, poignant one — Had the opportune moment slipped away, no time would be left for any ardent prayers…
Extracts from interaction with Farida Parveen:
Is there a known corpus of songs that lalon left as his heritageIJ
About 1,800 to 2,000 songs are recognised as legacy of lalon Sain (master). There are three definitive volumes, published so far, containing his songs. I’ve been groomed by guru Makshad Ali Sain, who holds the bastion at Kusthia. He has a repertoire of 1,800 lalon songs. Still, some of his songs are carried on the lips of travelling Bauls which have never been documented.
Keeping in view the passage of time, are there efforts to carry out notations of his songsIJ
Though normally folk songs are not notated, we certainly owe this effort to lalon Sain. I’ve myself notated 100 songs which I consider as my modest contribution towards standardisation.
Since lalon songs possess profound philosophy, are there attempts to analyse his poems and lyricsIJ
Yes, indeed, in-depth analyses are being attempted by many scholars. lalim Ali is one of the foremost scholars among them.
Could you summarise the main tenets of lalon’s thoughtsIJ
There are four major doctrines found in lalon. They’re Allah-Nabi tatva (doctrine of God and his Messenger); Radha-Krishnatatva; Deha tatva (doctrine of supremacy of human form); and Atma-Paramatmatatva (doctrine of union between human soul and the divinity).
Since you’ve been singing lalon songs the world over, do you find appreciation of his music and messageIJ
Apart from the bulk of Western countries where listeners are generally sensitive, I’ve held concerts in Qatar, Morocco, Turkey and Algeria, and found great resonance to lalon’s message. Japan, in particular has given me its rare distinction of Fukuoka Award, so far limited to Ravi Shankar, Amjad Ali Khan and Nusrat Fateh Ali of our sub-continent. I’m humbled by their recognition of lalon’s heritage.