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Pally Baul Samaj Unnayan Sangstha

375/A, Dilu Road, New Eskaton, Dhaka-1000

Phone: +8801711316276

E-mail: [email protected]

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CCuullttuurree aanndd IIddeennttiittyy

December 2016

Project Director: Ferdoushi Nazma

Lead Researcher: Saimum Parvez

Associate Researcher: Arman Ali

Jointly Funded by: EMK and PBSUS

Project Implemented by : PBSUS

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Index

SL Content Page Nm.

1 About PBSUS 5

2 Executive Summary 6

Research Method 7

Findings and Key Recommendations 8

3 Conceptual Analysis 10

What is Globalization? 10

Globalization and Its Impact on Local Culture 12

A Brief History of Bauls in Bangladesh 15

Globalization and Baul Culture 16

Youth Reaction and Reception of Baul Culture 20

Baul Akhra’s view on Impact of Communication Technology 23

Recommendations 24

5 Annex 26

Name of Interviewees 26

Photo Gallery 28

Questionnaire 33

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About PBSUS

Pally Baul Samaj Unnayan Sangstha (PBSUS) is a nonprofit organization working for

important social, cultural, and development related issues with its expertise in conducting

research and arranging cultural activities. Particularly, PBSUS has been relentlessly working

to bring change to the lives of Folk/Baul artists of Bangladesh by upholding their identity,

uniqueness and rights. Over the years, PBSUS has been known as one of the leading

organizations in the arena of preserving folk culture, and disseminating the messages of

peace, harmony, and intolerance through organizing folk musical programs.

Both in the urban and rural areas of Bangladesh, folk songs are strong tools for increasing

social awareness. PBSUS, several times, took this opportunity to reach the people by

organizing a huge number of folk cultural programs at different levels; starting from slums,

villages, schools to foreign embassies located in Dhaka. In sum, PBSUS’ mission is

preserving folk songs, culture, and tradition, conducting research on the threats and

possibilities of Baul/folk culture, and employing folk culture as a tool of increasing societal

awareness in Bangladesh.

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Executive Summary

This study has been conducted to understand the relationship between the advancement of

communication technology and its impact on the Baul life in Bangladesh. With the

unprecedented nature of Globalization, new communication technologies have been invented and

widely used, which in turn has made the world more and more interdependent and

interconnected. We found that with the advent of new communication technologies, powerful

Western and Bollywood culture have been heavily influencing folk culture in Bangladesh.

However, some of the experts we interviewed also believe that new communication technologies

have created the opportunity to reach wider audience with less cost and efforts. There are a few

rock bands, mainly popular in urban areas, making fusions of the Baul and other folk songs. This

study analyzed the present state of Baul culture in Bangladesh, assessed the impact of new

communication technologies, mainly internet, cell phone and television, on Baul culture, and

recommended the ways to use communication technologies for preserving and disseminating

Baul culture and their unique identities in Bangladesh.

Baul philosophy comes with achieving personal freedom through sacrificing desire, and

greed of this mundane world. In order to achieve their ultimate goal, or “Mokkho”, they often

reject their family and live communal life. On the other hand, the powerful notion of the

globalization made the world interdependent, tech-oriented, and inter-connected. But this

assimilating process of globalization came with a cost. Global market created the risk of losing

unique identities and traits. The impact of reproduction and communication, such as radio,

television, and mobile phones, on the Baul lifestyles needs to be understood in order to preserve

Baul and folklore culture. Also, it needs to be understood how the syncretic and tolerant message

of Baul songs might be reached to the youth of Bangladesh by using new communication

technologies.

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In this backdrop, the overall goal of the proposed project is to understand the impact of

communication technologies on Baul life. The project seeks answer to following questions:

whether the co-relation between globalization and its impact on baul’s life is positive or

negative? Is the recent trend of fusion; urban based Baul and folk Band songs, rightly syncretic

in nature or mistakenly destroying true messages of the Baul songs? What are the ways to

preserve intolerant, pluralistic, and syncretic nature of Baul culture by using new communication

technologies?

In order to find answers to above mention questions, “Palli Baul Samaj Unnayon

Sangstha” (PBSUS) interviewed folk culture experts, Dhaka based researchers, scholars, and

folk-band artists. Besides, the research team conducted Focus Group Discussions (FGDs) with

around 37sadhus and Bauls from Akhras at Kushtia. The interviews of folklore researchers and

experts gave in-depth knowledge on unique Baul culture and their lifestyle. Our research team

also conducted a small-scale survey with close ended questions among university level students.

The survey helped to understand youth perception regarding folk culture and the role of

communication technology in disseminating the messages of Baul lyrics.

In this study, first, a conceptual analysis of Globalization and its impact on culture has

been laid out in general. This section also provides a brief discussion on the history of Baul

songs in Bangladesh. Then the study focuses on the co-relations between globalization and its

impact on folk and Baul culture by analyzing the opinions and contents collected from conducted

interviews. This section also tries to find the answer whether the recent trend of fusion, urban

based rock band songs rightly syncretic in nature or mistakenly destroying true messages of the

Baul songs. Finally, the report gives recommendations to preserve intolerant, pluralistic, and

syncretic nature of Baul culture by using new communication technologies.

Research Method

This study follows a combination of quantitative and qualitative methods and collects both

primary and secondary data. In depth interviews of scholars, researchers, and artists has been

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conducted and analyzed. Our research team also steered a Focus Group Discussion (FGD) with

the Fakirs and Sadhus at Akhras at Kushtia. Lastly, a small scale survey has been conducted

among 30 private university going students. For the conceptual analysis section, the study also

provides an extensive literature review with the help of secondary sources.

Findings

The study finds varied opinions and perspectives regarding the impact of globalization, usage

and effect of new communication technologies and devices in particular, on Baul lifestyle and

culture in Bangladesh. The difference of opinion is conspicuous in urban and rural settings; in

general, urban centric experts, researchers, and youth welcome new communication devices,

fusions in music, and even in some cases strongly believe in “modernized” and more

“globalized” version of the folk culture, whereas rural Akhra-centric Bauls are mostly against the

fusions, and consider some of the devices as threat to their lifestyle. However, some of the young

generation Bauls, who are also part of the Akhras, possess a different value and are more

comfortable with the new communication technologies. Despite having different perspectives,

almost all of the interviewees believe that proper measure should be taken to provide security to

the Bauls so that they can practice and sustain their way of life. The youth groups we interviewed

are from private universities, and most of them are oblivious about fascinating, humanist, and

tolerant messages of Baul songs. This reflects the need of disseminating and propagating Baul

songs among the youths of Bangladesh, which will eventually help to build a pluralistic and

religiously tolerant society.

Key Recommendations

On the basis of the above mentioned findings, the study recommends followings. A more

detailed version of the recommendations are incorporated at the end of the report.

• Government should take proper actions to ensure safety and security of the Baul lifestyle

and culture. Along with the government, the non-governmental organizations, and

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relevant private institutions should be incorporated and a public-private partnership

project could be initiated to monitor, enhance, and develop Baul culture.

• Promoting religious diversity and upholding Baul message of tolerance should be the

goal of our education. It should be reflected in school curriculums and education

policies.

• Community level engagement in preserving Baul culture should be encouraged. Local

influential political, religious, and other community leaders, along with youths, should be

incorporated in the initiative. The activity will hopefully contribute to create pro-Baul

awareness among the community and help to eradicate blanket blaming against the Bauls.

It will also extend support to Bauls and help them to practice their unique lifestyle.

• Promoting new technology and preserving folk culture do not conflict with each other.

Proper measures should be taken to preserve Baul culture by using various technological

innovations. Mobile apps, websites, social media should be used effectively to preserve

culture.

• Even at the Akhras, new technologies could be encouraged and customized to preserve

and disseminate Baul culture. It may create new avenue to strengthen Urban-Rural

connections.

• Media should not be considered as detrimental towards Baul identity; rather it can play a

supporting role to preserve folk culture. More exposure of Baul and folk songs will create

wider audience and will get more popularity. However, the authenticity of the Baul

message should be kept intact.

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Conceptual Analysis

What is Globalization?

Globalization is one of the buzzwords commonly used in the contemporary world.It is often

used, overused, and misused to explain almost every recent phenomenon. However, there are

some scholars who explained the concept fittingly. In his paper "The Consequences of

Modernity", Anthony Giddens uses the following definition: "the globalization can be defined as

the intensification of social relations throughout the world, linking distant localities in such a

way that local happenings are formed as a result of events that occur many miles away and vice

versa.1In his paper“Global Transformations”, David Held defines globalization as; "although in a

simplistic sense globalization refers to a rapid global interconnection, deep and on large scale,

such definition but requires now a more complex research"2.

Globalization can be linked to the local, the national and the regional. On the one hand, a

connection is made between social and economic relationships and networks, organized on a

local and/or national, on the other hand, it connects social and economic relationships and

networks crystallized on wider scale the regional and global interactions. Globalization can refer

to those spatial-temporal processes of change, which constitutes the fundament of the

transformation of human concerns in an organization, linking together and expanding human

activity across regions and continents. Without referring to the expansion in space of the

connections, there can be no clear and coherent formulation of the term globalization. The

Swedish journalist Thomas Larsson, in his book “The Race to the Top: The Real Story of

Globalization”, says that globalization "is the process of the shrinking of the world, the

shortening of distances, and the closeness of things.3

1Giddens, Anthony. (1991). The Consequences of Modernity Cambridge: Polity Press. p. 64. ISBN 9780745609232

2Held, David, et al. (1999). Global Transformations Cambridge: Polity Press. ISBN 9780745614984

3Larsson, Thomas. (2001). The Race to the Top: The Real Story of Globalization Washington, D.C.: Cato Institute.

p. 9. ISBN 978-1930865150

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Anthony McGrew states that globalization constitutes a multiplicity of linkages and

interconnections that transcend the nation states (and by implication the societies) which make

up the modern world system. It defines a process through which events, decisions and activities

in one part of the world can come to have a significant consequence for individuals and

communities in quite distant parts of the globe4. Philip Cerny furthermore suggests that

globalization redefines the relationship between territoriality and authority, shifting authority

from the level of the state to supranational and subnational units, perhaps offering more to grasp

onto in operational terms but precious little in causal terms5. Robert Z. Lawrence is emphatic in

stating that globalization shifts authority—to specifically the local and the regional level.6

Francis Fukuyama suggests that convergence is inevitable:

Technology makes possible the limitless accumulation of wealth, and thus the satisfaction

of an ever-expanding set of human desires. This process guarantees an increasing

homogenization of all human societies, regardless of their historical origins or cultural

inheritances. All countries undergoing economic modern-ization must increasing

resemble one another: they must unify nationally on the basis of a centralized state,

urbanize, replace traditional forms of social organization like tribe, sect, and family with

economically rational ones based on function and efficiency, and provide for the

universal education of their citizens... Moreover, the logic of modern natural science

would seem to dictate a universal evolution in the direction of capitalism… The social

changes that accompany advanced industrialization, in particular universal education,

appear to liberate a certain demand for recognition that did not exist among poorer and

less educated people. As standards of living increase, as populations become more

cosmopolitan and better educated, and as society as a whole achieves a greater equality

of condition, people begin to demand not simply more wealth but recognition of their

4Anthony McGrew, “A Global Society” in Stuart Hall, David Held, and Anthony McGrew, Modernity and Its

Futures (Cambridge: Polity Press, 1990).5See Philip G. Cerny, “Paradoxes of the Competition State: The Dynamics of Political Globalization,” Government

and Opposition 32 (2, spring 1997): especially 270–1.6Robert Z. Lawrence, Regionalism, Multilateralism and Deeper Integration (Washington, DC:Brookings, 1996), 8.

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status… Communism is being superseded by liberal democracy because of the realization

that the former provides a gravely defective form of recognition.7

Globalization thus represents the triumph of modernization theory according to its proponents; a

homogenization of values around the principles of capitalism and democracy, albeit a strictly

American variant of both, built on Protestant values that purportedly epitomize the

Enlightenment.8

To some, Globalization represents the universalizing of American values (if not Anglo-

Saxon ones), predicated on a normative, indeed moral foundation. In the modernization

literature, the convergence is towards liberal democracy and modernity defined as industrialized

economic development—one that involves the characteristic features of a limited state

apparatus.9While Hamid Mowlana may be correct in suggesting that “globalization has brought

more surface homogenization than fundamental change,” he still concedes that it offers the

prospect of American culture which he describes as “entertainment, fashion and the American

way of life”—in sum, “commercial secularism.”10

Globalization and Its Impact on Local Culture

The discourse regarding the effects of globalization on cultural diversity is a challenging debate.

The advancement of technology dissolves international boundaries and opens cultures to a whole

new arena11 enabling globalization to occur. Globalization can be an empowering entity. It can

interconnect the world, support economic development, provide information availability and

assist in developing a global village.12There is a paradoxical dichotomy when it comes to

7Quotations from Francis Fukuyama, The End of History and the Last Man (New York: Free Press, 1992), xiv–xv

and xviii–xix.8For a critique of the initial wave of modernization theory that focuses on its stress on the Protestant ethic, see

Arturo Valenzuela and Samuel Valenzuela, “Modernization and Dependency: Alternative Perspectives in the Studyof Latin American Development,” Comparative Politics 10 ( 4, July 1978)9See, for examples, Apter, The Politics of Modernization, op. cit. n. 34; Lipset, “Some Social Requisites of

Democracy,” op. cit. n. 34, 69–105.10 Hamid Mowlana, “The Communications Paradox,” The Bulletin of Atomic Scientists (July/August 1995)11Smith, C. & Ward, G. (2000). Indigenous Cultures in an Interconnected World. Vancouver: UBC Press.12Moahi, K. (2007). Globalization, knowledge economy and the implication for Indigenousknowledge. International Review of Information Ethics, 7, 1-8.

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globalization and cultural diversity. On one hand, globalization has the potential to mobilize and

empower people, provide a means for self-representation, support a collective identity through

socialization and provide employment opportunities. On the other hand, it has the ability to

disempower people by misrepresentation, provide a process for further colonization, and propel

the loss of individualism and self and group identity.

Political theorist Fredric Jameson presents this as two competing future visions: one of a

corporate-dominated monoculture where nations and cultural groups alike are deprived of

autonomy and identity; and another of a vibrant celebration of pluralism, in which various

cultural groups are in direct and harmonious contact with one another, free from limiting

political forces such as national governments.13Due to the unprecedented access to cultures, a

much wider audience than ever before has a gateway to see, hear and experience phenomena that

were never accessible previously. Misrepresentation, stereotyping and the risk of loss of cultural

and intellectual property rights are the consequences of unmonitored access.

There are a number of negative impacts globalization has had on cultural diversity,

including the influence multinational corporations have on promoting a consumer culture,

exploitation of workers and markets and influencing societal values. This increased availability

of commercial media and products can "drown out" local cultural influences.Loss of

individualism and group identity occur when globalization encourages a “Western ideal of

individualism”. This promotes a homogeneous set of values and beliefs. The adoption of

Western Culture and ideologies is seen as many computer-mediated technologies are developed,

marketed and processed via western markets. The dominant population and culture of the day

determine the next greatest technology along with the next commercialized gadget that will be

offered up to the masses and longed for by those who are at arm’s reach of financially obtaining

these devices.

There are some positive impact of Globalization on culture as well. Technology provides

a medium where depiction of images and portrayals of self-identity can provide the means in

13Jameson, F. (1998). Globalization as a philosophical issue. In F. Jameson, M. Miyoshi (Eds.), The Cultures ofGlobalization (pp. 54-77). London: Duke University Press.

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which truism can be established. Global media centres allow cultures a distinctive voice to

promote awareness and provide public knowledge and understanding of their stories and

identities. It also allows for the communication of their relevant accounts and commentaries on

issues that are important in preserving the culture and knowledge acquisition of cultural ways -

allowing them to retain their diversity. Being in charge of their own media production companies

allows control of their artifacts, signs and symbols that are regarded as cultural property. When

cultures are in control of their own public images they are better equipped to manage and

represent their images appropriately without misrepresentation.

Instead of destroying some cultures, as others predicted, mass media assists in the

revitalizing and restoring of cultural preservation of nations (Ginsburg, 2002).14 Technology can

be used to preserve language, customs and culture. Technology allows for self-representation and

preservation of personal and collective identity by providing autonomy and

empowerment.Global technology has provided the opportunity to redefine collective identity

along with identifying a place for distinctive cultures. Global social, political and economic

networks, combined with common goals, will no doubt enable the emerging empowerment

among cultural peoples. This is far more advantageous than individual communities or groups

coming forward to raise global or local concerns.

It is fair to say that the impact of globalization in the cultural sphere has, mostgenerally,

been viewed in a pessimistic light. Typically, it has been associated withthe destruction of

cultural identities, victims of the accelerating encroachment of westernized, consumer culture.

This view, the constituency for whichextends from (some) academics to anti-globalization

activists, tends to interpret globalization as a seamless extension of – indeed, as euphemism for –

western cultural imperialism. In this study we took a middle ground and tried to explore both

positive and negative aspects of globalization.

14Ginsburg, F. (2002). Screen memories: Resignifying the traditional in Indigenous media. In F. Ginsburg, L. Abu-Lughod, and B.Larkin (Eds.), Media Worlds: Anthropology on a New Terrain (pp.39-57). Berkeley: University ofCalifornia Press.

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A Brief History of Bauls in Bangladesh

The word Baul has its etymological origin in the Sanskrit word Vatula("mad", from vayu - "air"

or "wind") and is used for someone who ispossessed or crazy. Bauls are an extension of the

Sahajiya philosophy,which in turn derives from the Nath tradition. They believe in living the

world as a half-sanyasi. The origin of the word is Baul is debated. Some modern scholars, like

Shashibhusan Das Gupta have suggested that it may be derived eitherfrom Sanskrit word vatula,

which means "enlightened, lashed by thewind to the point of losing one's sanity, god's madcap,

detached fromthe world, and seeker of truth", or from vyakula, which means"restless, agitated"

and both of these derivations are consistent with the modern sense of the word, which denotes

theinspired people with an ecstatic eagerness for a spiritual life, where a person can realize his

union with the eternalbeloved - the Maner Manush (the man of the heart).15

The origin of Bauls is not known exactly, but the word "Baul" has appeared in Bengali texts as

old as the 15thcentury. The word is found in the Chaitanya Bhagavata of Vrindavana Dasa

Thakura as well as in the ChaitanyaCharitamrita of Krishnadasa Kaviraja.16 Some scholars

maintain that it is not clear when the word took its sectariansignificance, as opposed to being a

synonym for the word madcap, agitated. The beginning of the Baul movementwas attributed to

Birbhadra, the son of the Vaishnavite saint Nityananda, or alternatively to the 8th century

Persianminstrels called Ba'al. Bauls are a part of the culture of rural Bengal. Whatever their

origin, Baul thought has mixedelements of Tantra, Sufi Islam, Vaishnavism and Buddhism. They

are thought to have been influenced by the Hindutantric sect of the Kartabhajas, as well as

Tantric Vaishnava schools like the Vaishnava-Sahajiya. Some scholars findtraces of these

thoughts in the ancient practices of Yoga as well as the Charyapadas, which are Buddhist hymns

thatare the first known example of written Bengali. The Bauls themselves attribute their lack of

historical records to theirreluctance to leave traces behind. Dr. Jeanne Open Shaw writes that the

music of the Bauls appears to have beenpassed down entirely in oral form until the end of the

19th century, when it was first transcribed by outside observers.17

15Das Gupta, Shashibhusan (1946, reprint 1995). Obscure Religious Cults, Calcutta: Firma KLM, ISBN 81-7102-020-8, pp.160-1

16Das Gupta, Shashibhusan (1946, reprint 1995). Obscure Religious Cults, Calcutta: Firma KLM, ISBN 81-7102-020-8, p.160ff

17Openshaw, Jeanne. Seeking Bāuls of Bengal (http://books.google.com/books?id=YGDWuQ-wjB8C&pg=PA56&dq=history+bauls&

ei=UDJcS8DFHqeOkATB3dS8Ag&cd=1#v=onepage&q=history bauls&f=false) p.56

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The Bauls were recorded as a major sect as early as mid-18th century.Regarding the origins of

the sect, one recent theory suggests that Bauls are descendants of a branch of Sufism calledba'al.

Votaries of this sect of Sufism in Iran, dating back to the 8th-9th centuries, were fond of music

andparticipated in secret devotional practices. They used to roam about the desert singing. Like

other Sufis, they alsoentered the South Asian subcontinent and spread out in various directions. It

is also suggested that the term derivesfrom the Sanskrit words vatul (mad, devoid of senses) and

vyakul (wild, bewildered) which Bauls are oftenconsidered.

Like the ba'al who rejects family life and all ties and roams the desert, singing in search of his

beloved, the Baul toowanders about searching for his maner manus (the ideal being). The

madness of the Baul may be compared to thefrenzy or intoxication of the Sufi diwana. Like the

Sufi, the Baul searches for the divine beloved and finds himhoused in the human body. Bauls call

the beloved sain (lord), murshid (guide), or guru (preceptor), and it is in hissearch that they go

'mad'.

Globalization and Baul Culture

In his unpublished article titled “From Akhra to Fusion – the Transformation of Baul Music in

Bangladesh”, prominent singer and researcher Maqsoodul Haque aptly points out the rich

heritage of Baul culture of Bangladesh;

“Bangladesh is a blessed land when it comes to musical forms. It is estimated that until

200 years ago there were over 500 musical forms in circulation within our rural

heritage, where the majority of our population then, as even today live and make their

existence. With passage of time, prompted by increased urbanization, economic and

social changes and our steady disconnect with rural communities; today we have about

200 musical forms still in existence.

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Haque (2014), who himself is a Sufi and Baul inspired rock artist, believes that various

instruments in Bauls songs, and so called modernization, is not imposed.

“ The inclusion of various instruments into Baul music were never imposed, but the need

and demands of times, because while the music practiced and pursued in Akhra

institution was the base parameter set by the stakeholders themselves, it was gradually

moving out of the Akhras and gaining mainstream acceptability. Since Bauls never

believed in any prescribed musical forms nor were the ever dogmatic or puritanical in

matters of what instruments can or cannot be used, incorporation of newer instruments

and trends became inevitable.”

Haque also believes that transforming the Baul songs into fusion has a positive side as the

message of Baul songs can reach wider audience:

“The inclusion of newer instruments and artist saw the Baul music genre getting

enlarged and well defined- engaging and captivating larger audience members across a

very wide spectrum, as well as connecting urban listeners to their nostalgic roots.”

Famous poet and prominent folklore expert Asad Chowdhury also expressed similar view:

“ If the song is played with modern instruments, it gets a wider range. An Akhra is

comprised of only 25-30 people. But now these Baul songs can reach to thousands of

people. Internet and other communication technologies paved the way to propagate and

reach wider audience. …… People listen to rock music, they like it. Often twenty to thirty

thousands, sometimes more than that, gather together for listening to rock music. The

bauls songs achieved more popularity after the fusion, at least to the younger generation.

No doubt about that. This is important that Baul inspired songs are getting popularity

among the youth.”

(GLb AvaywbK hš¿cvwZ wb‡q hLb Mvb MvIqv nq ZLb AvqZb cvq| AvLovq 25-30 Rb _v‡K| GLb G¸‡jvi evB‡i j¶ j¶ ‡jv‡Ki

Kv‡Q P‡j hvq| AvRKvj B›Uvi‡bU mn Ab¨vb¨ c«hyw³i Kvi‡Y GUvi c«Pvi-c«mvi A‡bK ‡ewk| . . . . . . . . . e¨vÛ ‡jv‡K ‡kv‡b| e¨vÛ

ïb‡Z 20 ‡_‡K 40 nvRvi KL‡bv Av‡iv A‡bK ‡jv‡Ki mgvMg nq| Zviv e¨v‡Û ‡bqvi d‡j GB Mvb¸‡jv Av‡iK ai‡bi Rbwc«qZv

‡c‡q‡Q| Zi“Y c«R‡b¥i Kv‡Q| G‡Z ‡Kv‡bv m‡›`n ‡bB| evDj my‡ii Mvb¸‡jvi Zi“Y‡`i g‡a¨ Rbwc«q nIqvi GKUv e¨vcvi Av‡Q|)

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Another researcher Saimon Zakaria also believes that media play a supportive role to revival of

Baul music and its message:

“We are watching (Baul songs) at various media, at Radio, Magazines, and at many

urban musical programs. But that does not necessarily mean that the prominence of

Akhra has decreased. In fact, the prominence of Akhra has been increased. I asked the

Fakirs, “has the number of your Bhoktos (fans) increased or decreased?” The replied,

“why it would be decreased? If I had five Bhoktos before, now I have 50 thousands.” If

you consider that perspective, then the number is actually increasing. We want that

Akhra-centric Baul culture should be properly broadcasted along with the Baul songs.

The Akhra culture should be depicted in media, even with more importance than our

‘living room culture’.”

(Avgv‡ì wgwWqv‡Z Avm‡Q , ‡iwWI‡Z Avm‡Q, cwÎKvq Avm‡Q, Avgiv bvMwiK wewfb œ Abyôv‡b ‡`LwQ| wKš‘ Zvi gv‡b GB

bq ‡h GUvi c«vavb¨ N‡U‡Q ev AvLovi c«vavb¨ K‡g ‡M‡Q ZvI bq| AvLovi c«vavb¨ Av‡Mi ‡_‡K ‡ewk n‡”Q| Avwg Av‡iv

dwKi‡ì Kv‡Q wR‡Ám K‡iwQjvg Av‡Mi ‡_‡K Avcbv‡ì f³ evoj bv Kg‡jv? Iiv ejj, ‡Kb Kg‡e? Av‡Mi ‡hLv‡b

Avgvi cvPRb f³ wQj GLb ‡mLv‡b cÂvk nvRvi f³ Av‡Q| GB `…wóf½x ‡_‡K ‡Zv Avgiv evowQ| AvLovwfwËK Mv‡bi

c«Pvi Av‡Q Avcwb ‡hUv Ki‡Z cv‡ib ‡h Avgiv PvB AvLovq ‡h PP©v¸‡jv n‡”Q ‡m¸‡jv wgwWqv‡Z AvmyK| ‡hfv‡e W«Bs iæ‡gi

ms¯‹…wZUv Lye ¸iæZ¡c~b© fv‡e Dc ’̄vwcZ n‡”Q Zvi ‡_‡K ‡ewk ¸iæZ¡ wb‡q AvLovi Mv‡bi Dc ’̄vcbvUv ìKvi|)

He categorically indicated how various media outlets can play an important role in preserving

Baul culture and heritage:

“It has a very good side. I myself have been benefitted by this. Many Fakirs have been

uploading their video clips, and images on the internet. They are even uploading the

images of nude dancing (when they reach the highest form of their spirituality). I am

getting a real picture of the Bangladeshi culture by these images and video clips. We did

not get before, no media had done this. These Fakirs got to reach a wider audience

because they have mobile phones. Ok! If media do not broadcast it, then let’s upload it on

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internet, on apps. In fact, Bauls should get easier and cheaper access to internet and

mobile phones so that they can upload more video clips and images. We will get ‘original

stuff” from them. Media has brought a very positive perspective. When there were only

one or two TV/Radio channels, it was different. Because, they could set the agenda and

one or two styles got broadcasted by the channels. But, now, media is diverse; and

different styles, songs are reaching wider audience. We can choose one among them.”

(GUvi ‡Zv GKUv Lye fv‡jv w`K Av‡Q| Avgvi wb‡RiI DcKvi n‡”Q| GLb eû dwKi Zv‡ì mvay, m½xi Qwemn

Avc‡jvW Ki‡Q| Zviv ‡h cvMj, ‡bsUv n‡q bvP‡Q ‡mUv Avc‡jvW K‡i w`‡”Q| G‡Z K‡i evsjv‡`‡ki ms¯‹…wZi

AwiwRbvj c«KvkUv I‡ì gva¨‡g Avwg cv‡”Q| ‡hUv wKš‘ wgwWqv KiwQj bv| GLb ‡h KvRUv wgwWqv KiwQj bv Zvi

nv‡Z ‡gvevBjUv _vKvi d‡j ‡m wb‡R Zvi AvZ¥c«Kv‡ki GKUv hvqMv ‡c‡q ‡M‡Q| wVK Av‡Q Zywg Avgv‡K w`”Qbv

Zv‡Z wK Avgvi Kv‡Q A¨vcm Av‡Q WvDb‡jvW K‡i wbjvg, Qwe Zy‡j w`‡q w`jvg| evDj‡ì Rb¨ GUv Av‡iv Kg

`v‡g ‡`qv DwPZ| hv‡Z Zviv wfwWI Avc‡jvW w`‡Z cv‡i| ZLb Avgiv AwiwRbvj wRwbmUv ‡`L‡Z cvie| GLv‡b

wgwWqv Lye c‡RwUf GKUv w`K| wgwWqvi GK mgq Lye Lvivc ‡ivj wQj hLb GKUv ev `yBUv wUwf ev ‡iwWI P¨v‡bj

wQj| ZLb GKevi ‡h myiUv ‡hZ ‡mUv wKš‘ c«wZwôZ n‡q ‡hZ| GLb ‡mUvi ‡Kvb Dcvq bvB| KviY GLb c«wZ`b

c«wZ g~û‡Z© GKB Mv‡bi nvRvi iKg myi Avm‡Q| Avi I ‡mLvb ‡_‡K myi ‡e‡Q wb‡Z cvi‡Q| )

Zakaria emphasizes on developing a new curriculum and changing existing education policy for

promoting religious tolerance and upholding Baul message. Interestingly, he is optimistic about

future of Baul culture in Bangladesh:

“There is not much threat on Baul songs. I am optimistic about the survival of the songs,

but the Sadhus, who are the real practitioners and representatives of Baul culture, I am

worried about them. If the Bauls get detached from the “Sadhanas” (practice of Baul

culture), then new songs will not be created.”

(evDj Mv‡bi c«wZ ûgwK ‡Zgb bvB| Z‡e GKUv wRwbm ‡hUv Avwg m‡›`n Kwi Mvb _vK‡e Z‡e wKš‘ Mv‡bi ‡h

Rb¥f~wg ‡hUv Avwg memgq ewj Zv n‡jv evDj Mv‡bi Rb¥f~wg n‡jv mvay | mvabv hw` bv _v‡K Z‡e evDjMv‡bi

D‡b¥l n‡e bv| GLb mvabv ‡_‡K hw` evDjiv weP ~̈Z n‡q c‡o Z‡e evDj Mvb bZyb K‡i m…wó n‡e bv|)

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He believes that media and development of technologies play a supportive role to disseminate

Baul songs to wider audience.

“Globalization has prompted a capitalistic face of Bauls songs, with its modern and

foreign musical instruments. However, the originality of Baul songs are also getting

traction and acceptance from international audience. Bangladeshi culture has been

known by our Baul philosopher Lalon; he is a true reformer and father of our

renaissance. Baul song is one of our uniqueness, and I believe Baul song will remain

forever. Globalization will accept the Baul songs for its own interest.”

(Ab¨w`‡K wgwWqvi c«mv‡ii Kvi‡Y evDj Mv‡bi Pvwn`v evo‡Q Ges Zv AvšÍR©vwZKfv‡e evo‡Q| wek¦vq‡bi d‡j

evDj Mv‡bi GKUv cywRev`x c«Kvk NU‡Q| AvaywbK ev we‡`kx BÝU«y‡g›U mn| wKš‘ evDj Mv‡bi ‡h AwiwRbvj

iæcUv PwP©Z n‡”Q ‡fZ‡i ‡fZ‡i ‡mUviI GKUv AvšÍR©vwZK M«nY‡hvM¨Zv Av‡Q| Avcwb hw` ewj evsjv‡`‡ki

cwiwPwZ wK Zvn‡j Avgiv eje Avgv‡ì evDj mvB Av‡Q, eje jvj‡bi K_v whwb Avgv‡ì wd‡jvmdvi, Avgv‡ì

mgvR ms¯‹viK, Avgv‡ì AwiwRbvj ‡i‡bmvi RbK GUvB Avgv‡ì BDwbK‡bm| GQvov ‡Zv Avgv‡ì ‡Kvb

BDwbK‡bm ‡Zv bvB| ‡mw`K ‡_‡K Avgvi g‡b nq ‡h evDj Mvb _vK‡e| wek¦vqb hZB _vKyK, ‡m Zvi wb‡Ri

c«‡qvR‡b evDj Mvb‡K M«nY Ki‡e|)

Youth Reaction and Reception of Baul Culture

We conducted a semi-structured survey among a small population of youths based mainly in

private universities at Dhaka. Here sample size was thirty (N=30). Among these thirty students,

23 students responded that they listen to folk songs, rest of the 7 students either do not listen to

music, don’t like it, or simply label it as “boring”. One student even labeled the lyrics of the

songs as “anti-religion”.

Students who listen to folk music have a penchant towards fusions and urban rock version of

Baul songs. Only 6 students prefer to listen rural Baul songs over urban

We also wanted to find the youth’s general interest in listening

time they spend. On an average, youths, who were surveyed, spend nearly two hours per day for

listening music, including all the time they spend for listening music at YouTube, Facebook, and

Likes folk Music

0

2

4

6

8

10

12

14

16

18

1

Fusion/ Folk inspired Rock Bands


Baul songs. Only 6 students prefer to listen rural Baul songs over urban-based fusion songs.

ind the youth’s general interest in listening to music

. On an average, youths, who were surveyed, spend nearly two hours per day for


77%

23%0%0%

Interest in Folk Music

Likes folk Music Dislike/Not interested in Music

2 3

Fusion Vs Akhra

Fusion/ Folk inspired Rock Bands Akhra's Folk Songs

Page 21 of 36


based fusion songs.

by measuring the

. On an average, youths, who were surveyed, spend nearly two hours per day for


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other websites. Average time spent for browsing internet is a staggering 6.8 hours. Some of the

students remain online almost all the hours of the day except their sleep time.

Average Hours Spent Online per Day 6.8

Average Hours Spent for Listening Music 02

Most of the respondents expressed their opinions in favor of the fusion and inclusion of

foreign instruments, such as Guitar, Drums, Key-boards, and other electronic musical gadgets in

folk songs. They believe it will make the songs more exciting and interesting for their ears.

Now a days people look for trendy things. If folks songs get accompanied be Western

music, it would be trendy….Through modern devices people can easily avail the songs

and listen these, which influences to increase the love for it.(Abu Huraira Kamal)

Our music taste is changing and with more and more instruments it should sound good

and be more accepted. But need to ensure that the folk flavor remains.(Nafiz Niaz)

Through internet, the access to not only folk songs but all other songs have increased a

lot. As a result, it is easier for people now to listen to their favorite songs.(Razit Nihal)

However, there are some who believe that fusion and inclusion of new technologies in

folk music will spoil its authenticity:

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There is a strong chance of losing its unique entity and the new instrument they use has

its own identity, using Western instrument will contaminate it. (Ishrat Alam)

The authenticity of the songs might be disturbed. Fusions are only acceptable if they are

good enough.(Anannya Rahman)

Baul Akhra’s view on Communication Technology

In a Focus Group Discussion (FGD) conducted among …Sadhus at Akhras of Kushtia, we found

interesting observations about Baul life, practice, and culture. Most of the Bauls are users of

mobile phones. Even some of them use smart-phones or phones with different apps, such as

camera, and music players. However, none of them we interviewed use internet. However, their

children or younger generation Bauls use internet in their mobile phones. Bauls used to listen to

Radio before but gradually Television has been taking place of Radio.

In answer to a question regarding the possible impact of foreign instruments, such as

Drams, Guitars, on Bauls songs, Baul Rafi Shah informed us that he only preferred to use

Harmonium and Tabla to accompany his songs. Both Rafi Shah and Saban Shah think that Baul

songs are mainly dependent on their messages and loud music can be detrimental to the tunes of

the songs. Especially, Fakir Saban Shah vehemently opposed using any foreign instruments in

Baul songs.

In contemporary Bangladesh, most of the television channels have their reality shows,

talent hunts, and singing competitions. We asked the Bauls of Akhras about their opinions about

the televised Baul culture. Fakir Asim Shah believes that a true “Sadhak” (practitioner of Baul

culture) must not go to a television program, rather television channels should come to a

“Sadhak”, if it is necessary. However, he is not totally against these television programs as long

as singers maintain authentic rhythms and tunes (tal and loy).According to Fakir Asim Shah,

technologies such as mobile phones are wasting our valuable time but he admits that it is a useful

piece of device as it provides urgent communications.

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The one thing that Bauls should learn to reject from their life, and that is greed, opines

Fakir Saban Shah. He believes that the greed of fame, popularity, money, and all the worldly

desires should be rejected from a true Sadhak’s life. As the world is becoming smaller, and

technologies become more available, the materialistic greed becomes more prominent. The Bauls

from Akhra thinks that this is great threat to Baul lifestyle, practice, and culture. However, some

argue that the lives of Bauls became easier, at least in terms of collecting food and daily needs.

As Fakir Rafi Shah argues, “those days were days of hardship and starvation, we faced

difficulties to live our lives. Now people are earning more, and it is not difficult to collect more

alms for us.”

Regarding the future of Baul songs and culture, Fakir Asim Shah expresses a completely

different view from the folk expert Saimon Zakaria. As Zakaria is more optimistic about Baul

songs and culture in an era of Globalization and innovation of new technologies, Asim possesses

a more pessimistic and stark view regarding the future. Asim believes people are going after the

money, fame, and lies, and true Sadhaks and Baul culture will be lost in the middle of these

lures.

Some of the Bauls, such as Fakir Rafi Shah, are against making any fusion of folk music

and Baul songs. They believe that the messages of Lalon songs are like Kitab (Holly Books) to

them. They do not take it easily when any rock musicians change it, make any fusion with the

tunes and rhythms. They consider it as a contempt to their Kitab, to all the Baul Bhaktas.

Recommendations

• Government should take proper actions to ensure safety and security of the lives of Baul

and Baul culture. Ministry of Cultural Affairs should take proper steps with directives to

District Commissioners for providing safety to practicing Baul culture. Especially, some

of the core districts, such as Kushtia, Jessore, Sylhet, and Sunamgonj should get priority

from the government bodies. Along with the government, the non-governmental

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organizations, and relevant private institutions should be incorporated and a public-

private partnership project could be taken to monitor, enhance, and develop Baul culture.

• Promoting religious diversity and upholding Baul message of tolerance should be the

goal of our education. It should be reflected in school curriculums and education

policies.

• Community level engagement in preserving Baul culture should be encouraged. Local

influential political, religious, and other community leaders, along with youths, should be

incorporated in the initiative. The activity will hopefully contribute to create pro-Baul

awareness among the community and help to eradicate blanket blaming against the Bauls.

It will also extend support to Bauls and help them to practice their unique lifestyle.

• Promoting new technology and preserving folk culture should not be considered as two

conflicting concepts. Proper measures should be taken to preserve Baul culture by using

various technological innovations. Mobile apps, websites, social media should be used

effectively to preserve culture.

• New technologies should be encouraged and customized to preserve and disseminate

Baul culture. It may create new avenue to strengthen Urban-Rural connections.

• Media should not be considered as detrimental towards Baul culture; rather it can play a

supporting role to preserve folk culture. More exposure of Baul and folk songs will create

wider audience and will get more popularity. However, the authenticity of the Baul

message should be kept intact.

• More public dialogue on religious plurality, tolerance, and diversity should be

encouraged. These dialogues should not be confined in lavish urban hotels, and resorts,

rather these should reach to the grassroots level.

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Annex 1(a)

Name of Interviewers

Folk and Baul Researcher

1) Folk and Baul Researcher Mr.Saimon Zakaria

2) Famous poet and prominent folklore expert Mr. Asad Chowdhury

3) Prominent singer and researcher Mr. Maqsoodul Haque

4) Mst. Ferdoushi Nazma

5) Baul Shirin Sultana ( Laon and Folk singer)

6) Kanggalini Sufia (Very prominent Singer) From Akhra’ Kushtia

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Annex 1(b)

Photo Gallery

FDG with Baul and Shadu at Moshan Lalon Academy , Baul Akhra,

Kushtia

After Interview with Kanggalini Sufia at Cheuria, Kumarkhali,Lalon

Akhra , Kushtia. Picture: left Arman , Ferdoushi Nazma and Kanggalini

Sufia

Interview moment with Baul Shadhok Fakir Asim Shah at his akhra, Mirpur, Kushtia

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FDG with Baul Shadok and Fakir at Kushtia

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After discussion meeting with Lalon Academies Singer and musician , Cheuria,Kushtia

Interview with Baul Researcher and Very famous Rock singer Mr. Maqsud, ( Picture ; left side President of Pally Baul Samaj

Unnayan Sangstha and Mr. Maqsud

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Interview with Saimon Zakaria, Baul and Folk Researcher, Bangla Academy. Picture: left Saimon Zakaria and

Ferdoushi Nazma

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Interview with prominent folklore expert Kobi Asad Chowdhury . (Picture : left Kobi Asad Chowdhury and

Ferdoushi Nazma

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Annex 1(c)

Questionnaires

StudentsName:Gender:Age:Occupation:

1. On an average, for how many hours/minutes you enjoy music/songs per day?

2. On an average, for how many hours/minutes you browse internet per day? (Consider both phones

and laptops)

3. Do you listen to Bangla folk songs?

• Yes

• No

If yes, what type of Bangla folk songs you usually listen?

o Songs performed by rural folk singers

o Songs performed by urban folk singers

o Songs performed by urban rock bands

4. If you like Bangla folk songs, please provide three good reasons

a.

b.

c.

5. If you dislike Bangla folk songs or don’t listen to, please provide three good reasons

a.

b.

c.

6. Do you know anything about Baul life? Describe briefly in no more than 3-4 lines what do you

think about folk-singers’ and Bauls’ lifestyle.

7. Do you think Baul/ folk songs should be accompanied with western music instruments?

a. If Yes, Why so?

b. If No, Why so?

8. How have new technological innovations, such as mobile phones, TV, Radio, internet, etc created

an influence on Baul/folk songs? Describe briefly in no more than 3-4 lines

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বাউল

নাম:

বয়স:

এলাকা:

ঘরানা:

�কান ধরেণর গান কেরন:

১. আপিন িক �কান � যুি� ব�বহার কেরন?

ক) �মাবাইল?

�টিলিভশন?

�রিডও?

ই� ারেনট বা কি� উটার?

খ) উপের উে�খ করা � যুি� ব�বহার করেল কত� ণ ব�বহার কেরন এবং িক িক কারেণ ব�বহার কেরন?

� যুি� কারণ সময় ( কত ঘ� া)

�মাবাইল

�টিলিভশন?

�রিডও

ই� ারেনট বা কি� উটার

২. আপিন িক আপনার গােন �কান নতুন ধরেণর বাদ�য� ব�বহার কেরন? আপিন িক মেন কেরন আধুিনক বাদ�য� �যমন � ামস, িগটার ব�বহার করেল

বাউল গােনর উপর �কান � িতকর � ভাব �ফেল?

of 36

৩. ইদািনং �টিলভশেন বাউলরা গান গাে� ন, নানা ধরেণর অনু� ান করেছন, িরয়ািল� �শা হে� । আপনার িক মেন হয় আখড়ার জীবন �ছেড় এ ধরেণর

�টিলিভশন অনু� ােন বাউলেদর অংশ �নয়া উিচত?

৪. আপিন িক মেন কেরন �মাবাইল �ফান, �টিলিভশন, বা �রিডও বাউল জীবেনর উপর �কান ধরেণর � ভাব �ফলেছ?

৫. বাউলেদর জীবন দশ�ন �কমন হওয়া উিচত বেল মেন কেরন? আেগ বাউলরা �কমন জীবন যাপন করেতা, এখন এই সমেয় �কমন জীবন যাপন করেছ?

আপনার িক মেন আেগর বাউল, �যমন আপনার � � র সােথ বত�মান বাউলেদর �কান পাথ�ক� রেয়েছ?

৬. বাউলেদর ভিবষ�ত স� েক� আপনার ভাবনা িক?

৭. বত�মান সমেয় শহেরর নানা গােনর দল, যা ব�া� নােম পিরিচত, তারা বাউল গান করেছ। বাউল গােনর িরিম� বানাে� , নতুনভােব গাে� ।এ� েক আপিন

িকভােব �দেখন?

রক ব�া�

ব�াে� র নাম:

আপনার নাম:

১. বাউল গান �কন কেরন? আপিন িক মেন কেরন বাউল জীবনাদশ� আপনারা চচ�া করেছন?

২. বাউল গােন আধুিনক বাদ�যে� র ব�বহার আপিন কতটু� �যৗি� ক মেন কেরন?

৩. আখড়া িভি� ক বাউল গান এখন শ�ের � িয়ং � ম আর � িভর পদ�ায় চেল এেসেছ।এ� েক আপিন িকভােব �দেখন?

৪. আধুিনক � যুি� , �যমন �মাবাইল �ফান, � িভ, �রিডও, ই� ারেনট, বাউল জীবেনর উপর িক ধরেণর � ভাব �ফেলেছ বেল আপিন মেন কেরন?

৫. আপিন িক মেন কেরন ত� ণ � জে� র কােছ বাউল গান �পৗঁেছ �দবার জন� এর আধুিনকায়ন � েয়াজন?

৬. বাউল গােনর ভিবষ�ত িনেয় আপনার ভাবনা িক? িব� ায়েনর ফেল বাউল জীবনাদশ� িক �কান �মিকর মেধ� পড়েছ?

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বাউল গােনর গেবষক

নাম:

১. বাউল গােন আধুিনক বাদ�যে� র ব�বহার আপিন কতটু� �যৗি� ক মেন কেরন?

২. আখড়া িভি� ক বাউল গান এখন শ�ের � িয়ং � ম আর � িভর পদ�ায় চেল এেসেছ।এ� েক আপিন িকভােব �দেখন?

৩. আধুিনক � যুি� , �যমন �মাবাইল �ফান, � িভ, �রিডও, ই� ারেনট, বাউল জীবেনর উপর িক ধরেণর � ভাব �ফেলেছ বেল আপিন মেন কেরন?

৪. আপিন িক মেন কেরন ত� ণ � জে� র কােছ বাউল গান �পৗঁেছ �দবার জন� এর আধুিনকায়ন � েয়াজন?

৫. বাউল গােনর ভিবষ�ত িনেয় আপনার ভাবনা িক? িব� ায়েনর ফেল বাউল জীবনাদশ� িক �কান �মিকর মেধ� পড়েছ?

Understanding the Impact of Communication Baul Life ...Baul Akhra’s view on Impact of...

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