Bengal Delta: Folksongs & Identity

One of the largest deltas in the world is the Bengal Delta or the Ganges-Brahmaputra Delta, which spans most of Bangladesh and the Indian state of West Bengal and empties into the Bay of Bengal. Somewhat loosely resembling the fourth letter of the Greek alphabet, such a landform is created by the repeated deposition of sediment. These fertile geographical locations can support a bustling agriculture and economy, which inadvertently sprout the desire for a unique cultural and communal identity. What could be better than a sui generis style of music that is deeply rooted in the very essence of a community?

Washed by thousands of rivers,  the vast area of the Bengal Delta is one of the most fertile regions in the world. It is home to millions of people who have lived through centuries of dynamic social, cultural, and political changes. Among the many facets of Bengal’s cultural heritage, its folk songs stand out as a powerful medium through which people have expressed their joys, sorrows, hopes, and struggles. 

These diverse forms of music that arose in the delta have been deeply interwoven with the region’s history and identity. This article is all about these folk musical traditions of this region as well as the historical and cultural significance that these centuries-old melodies are nurturing.

History of the Bengal Delta and Its Folk Traditions

With the blessings of the Ganges, Brahmaputra, and Meghna rivers, this region has been a cradle of civilization for thousands of years. The rich agricultural land and its strategic geographical position in South Asia have made it a tantalizing place to trade goods and exchange culture. However, the history of the region is riddled with a seemingly endless chain of rulers and the foreign influences that they had brought along.

From the earliest inhabitants of the Bengal Delta, the non-Aryan ethnic groups or the Austro-Asiatics, to the voracious British empire, we can find ceaseless insertions of influences from an eclectic array of cultures. The traditions we see now are, in one way or another, the amalgamation of all of these influences. So, if that's the case, what do we even mean by “folk songs” or “folk traditions?” 

Redefining Musical Traditions

The term 'folk song' was coined much later in the nineteenth century, but in every culture, the existence of folk songs ubiquitously precedes that of the name itself. It is undeniable that Bengali folk music is vital in representing a diverse cultural hybridization and is also closely connected to the emotion of the people as it represents the common people and incites something primitive in the inhabitants.

All around the world, folk traditions of music share common characteristics. One of them is that it is composed by pastoral common people without being influenced by classical or modern music. Composed and performed by people who have little to no formal education. Folk music is an impulsive and spontaneous urge to express oneself in one's native language with simple yet memorable tunes and natural rhythms.

Prominent Forms of Bengali Folk Music

Bengali folk music has songs about the culture, festivals, phases of life, religion, natural beauty, rivers, and rural and riverine life. These come in numerous different forms as well. Some are sung alone while others in chorus; some are local in character, but others can be found in both Bangladesh and West Bengal. We have songs exclusive to a religious community and others that cross religious boundaries. Below, a few of the notable forms or styles or traditions are briefly discussed.

Baul

One of the most notable developments in Bengali folk music is the Baul tradition. The Bauls are itinerant singers and mystics, known for their simple yet profound music that mixes elements of Sufism and Vaishnavism and expresses a deep connection to the divine and the human soul. Their songs are often centered on themes of love, spirituality, and devotion. In 2005, the "Baul tradition of Bangladesh" was included in the list of Masterpieces of the Oral and Intangible Heritage of Humanity by UNESCO.

We have feratured (The Baul King) Baul Samrat Shah Abdul Karim. Learn more about his philosophy & profound lifestyle here.

Bhawaiya

Originated in Northern Bengal, there are multiple explanations of the meaning of “Bhawaiya.” These songs are characterized by a deep emotion of separation and loneliness. Buffalo keepers and cart drivers used to sing these songs during their work. For this reason, its recurring themes revolve around the "working class" men and their lovers.

Bhatiali

The Bhatiali songs are usually associated with the boatmen, known as "Majhi," where “Bhata” means the low tide of any river or ocean. This folk ballad form shows a strong ecological connection since this originated from the riverine regions of Bengal. Found in both Bangladesh and West Bengal, the themes include loss, pain, memory, and the human understanding of nature. 

Murshidi and Shyama Sangeet

Both of these are devotional folk songs. Murshidi is associated with Sufi mysticism, whereas Shyama sangeet (“sangeet” means song in Bangla) is dedicated to the Shyama or Kali, a form of supreme Hindu goddess Durga or Parvati.

Gombhira

Gombhira songs are theorized to have originated from the worship of the god Shiva among the Hindu community of Malda in West Bengal, and Bangladesh, especially one of its divisions, Rajshahi, became the main center of Gombhira songs. These songs reflect on contemporary social problems through clever dialogues, songs, dances, and jokes between the maternal grandfather and grandson.

Jatra

Jatras (Lit. “Journey”) are usually epic plays performed in open-air arenas that are preceded by a musical concert, often lasting over an hour. The cast is predominantly male, whose members also play the female parts. Music is the central element of the jatra. Musicians sit on both sides of the stage with traditional instruments and accompany the dramatic and exaggerated gestures and dialogues.

Lalon Geeti

The songs composed by Bengali saint, philosopher, and social reformer Lalon Shah are called Lalon Geeti or Lalon songs. He rejected any distinction based on caste, class, and creed in his songs and mocked political identities and nationalism that divided communities and promoted violence. He influenced many prominent figures, including Rabindranath Tagore, Kazi Nazrul Islam, and Allen Ginsberg. 

Hason Raja’s Songs

Hason Raja is a Bengali mystic poet who practiced Sufism. His music and life are quintessential to the development of spirituality and mysticism in Bengali folk music. Focusing on spiritual awakening and the ephemeral nature of life, his music encouraged folk singers and spiritual enthusiasts to search for divinity within themselves.

Songs on Social Hierarchies and the Struggles of Life

From the peasants to the intellectual elites, for anyone from every walk of life in the Bengal delta, folk music offered a path to express the deep-seated frustration, to criticize social hierarchies and injustice, to motivate and lend their shoulders for fellow countrymen. The Bauls, who adhered to an ascetic way of life, used their music to challenge established norms like rigid caste systems and the conventional religious practices of the time. Devotional songs brought everyone together in one cohesive community. 

The ruling class of this region often had to ban some forms of music due to their immaculate effectiveness in binding people together against oppression. During the colonial period, folk songs became tools of resistance against British rule.

Epilogue

Folk music is an indispensable method of preserving personal and communal struggles, hopes, dreams, and philosophies in today’s world. This is what ties us to our roots and our identities. It would not be an exaggeration to say that the shared memory and sentiments of this region are deeply connected to these songs at a spiritual level. With the transition of Bengal into the modern era, folk music continued to adapt to urbanization and industrialization, facing the threat of extinction head-on. This is the poetic metaphor that runs parallel to the resilience of its inhabitants.