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MUSIC
By Rituparna Sengupta
5 July, 2019
PARVATHY BAUL
A couple of years ago, I had the privilege to get connected to the Baul performers and also got an opportunity to know the tradition during a mesmerizing performance by Parvathy Das Baul at Jagori NGO. More than three decades, Parvathy has had a graceful journey of devotion and represent the melodious Baul tradition. She stumbled on Baul music while she was on a train journey to Bolpur. She gradually surrendered herself to this way of life. Her music enthrals audiences from all over the nation beyond the seas. “Kichu din mone mone”, “Sri charon pabo bole” and “Ghiri ghiri ghiri nache” are most of the loved songs.
Performed in over forty countries, including Kyoto, New York City, and Morocco, Parvathy is carrying forward the legacy, her gurus left behind. Baul, the spiritual and powerful musical form has been recognized as a “Masterpiece of the Oral and Intangible Heritage of Humanity” by UNESCO.
Parvathy is trying hard to preserve this tradition by making its existence prevalent in international forums. She is working towards systematic training in Baul arts and helping it available to the women on a larger scale. The legend has already recorded five CDs of music and published a book on the Baul tradition through Ekathara Kalari, her non-profit institution promoting ancient Indian spiritual traditions, with an emphasis on Baul arts and practice.
When asked about the Baul music of today, Parvathy informed us that Baul is a completely different path. “Baul is a traditional practice which is connected to spirituality. It is related to music, this music is the teaching. People love and listen to this music. From ancient times, it is very popular music. It is popular in Bengal. Nowadays, in the music industry, people do sing like the Baul song but to sing and to lead Baul path is completely different. Baul is a complete renunciation”.
As tradition follows, we could see that there are fewer female Baul performers than male performers. Even though there are women who love following this path of spirituality and like to perform this divine music but they fail to claim their existence as Baul performers or not able to continue their journey. “Women practicing Baul is impossible even today”, Parvathy lamented.
She further informed that our history observes women Baul performers but those were strong headed women, women whom no one could have stopped to achieve what they wanted in their life. They were at par with their male counterparts. “Nani Bala Dashi (people don’t forget her at all), Chintamoni Dashi, Phulmala Dashi (I have practiced with Phulmala dashi) are very powerful and strong women.
Our society should accept women however their ideologies and desires are. If they would like to travel and want to practice Baul, our society should allow them to choose their path. To increase the women Baul performers, Parvathy suggested for acceptance. “We need to have the balance, education in society. It is by increasing the respect for women in society and acceptance towards what women can do in life. This itself can change the whole situation what we see today”.
Baul practitioners lead a very beautiful life. When asked about the life of a Baul practitioner, Parvathy mentioned that their life is very beautiful and different. “Life is very beautiful as we live in a very compassionate way. Your strength is in your surrender and in your acceptance and living in harmony with everything surrounds you. The service attitude is unique to the Baul community. Life is not at all transactional in a Baul ashram. There is a lot of nourishment for the mind and soul. Those who come in contact with the Baul practitioners and those who live Baul path, they can easily say how beautiful and nourishing it is. So, it is total surrender, acceptance and living in harmony with everything surrounds us”.
In a tete-a-tete with Spunky Indian, she reveals about Baul music and her career as a Baul singer.
BV: What led you to become a famous Baul singer? What drew you towards this music?
Parvathy Baul: During my childhood, I was trained in Indian classical dance and vocals, influenced by my parents. I wasn’t allowed to focus on any other genre except Indian classical. I was enamoured by the Bihu performances and Mahut song but as I came in touch with the Baul Gurus, I was greatly attracted by their way of life and the art form. I found Baul songs, a way to express myself.
I remember once I was on a train, in the middle of the journey, suddenly a Baul singer came into our compartment. He was blind, his long fingers struck the string of Iktara and it sounded like magic. I felt familiar with that music. The moment I heard that sound I realized that environment of the compartment was getting choppy. I couldn’t relate the meaning of the sound at the first instance, but it made me feel that I would know this for a long time. The sound took me to another reality.
Later when I saw Guru Sanatan Das Baul’s performance, it excites me more. I started observing the Baul practitioners closely. I was looking for something which makes me free, something through which I could express everything. I went in search of my guru, Sanatan Das Baul, in Bankura. I spent 15 days with him. He wasn’t even curious to know my name. On the 15th day, he called me to come for a walk with him to the market. On the way, he started singing and looked at me and said why I don’t follow him. That time I started singing with him. And this was how everything started and took me a step closer to Baul music.
BV: Did Gurudev Rabindranath Tagore’s interest in Baul inspire you to seek the ambience of Santiniketan?
Parvathy Baul: Yes, of course, Gurudev Rabindranath Tagore inspired me a lot.
BV: How music and spiritual practice relate to each other? What are your thoughts?
Parvathy Baul: Music and spiritual practice are inseparable. According to Indian yogis, singing is a way to portray one’s acceptance to eternity. A Baul song can recharge your soul with positive energy. The lotus chakra of a human being awakens with the help of the togetherness of sound and breath. The regular practice of Baul song can transform a person with a divine touch. Those who are connected to the world and interact with people and nature choose music as their weapon of freedom.
BV: Tell me about your project Tantridhatri? What inspires you to conduct such an event?
Parvathy Baul: Tantridhatri is a conglomeration of women from diverse culture and background. Tantridhatri, this word derives from Pali language, meaning women who are holding the string. The knowledge that has arrived it's like a thread that someone is holding and carrying it on. It’s about creating generations and giving strength and more space to the women. It’s an international platform to celebrate women performing an art. It is also a festival to meet, to inspire each other and find a connection between each one of us.
In 2005, I was invited to perform a festival called Transit which was a sister project of the Magdalena project. It was directed by Julia Varley. This festival happens now in more than 30 countries. When I visited, I could see women involved in their work. Their story inspired me a lot and gave me strength especially to know their stories which I could relate to the many stories that I had come to know about Baul women who lived in the ashrams totally unnoticed. I also relate their story to my own and felt immense to carry forward this festival in India.
BV: Does your music have a particular message?
Parvathy Baul: Listening to Baul music is like understanding a spiritual tradition which is beyond any boundaries, a space of freedom, and experience of deep love in the heart. Love and surrender two words that I say through my music.
BV: The most important life lesson you have learnt with time?
Parvathy Baul: Nothing but Patience.
BV: What do you think how different is the Baul tradition today from 100 years ago?
Parvathy Baul: I want to go back with time because in the past we could share everything and not counted in terms of economy.
BV: In Sanskrit, Baul means crazy. Do you think being crazy is necessary to be a Baul singer?
Parvathy Baul: Yes we are crazy, crazy towards divine of love, towards God.
BV: What are the challenges a woman Baul singer faces? And what role our society can play to increase the number of female Baul performers?
Parvathy Baul: A female Baul performer and a practitioner need to be a “warrior” to succeed. I am very well-received and loved within my community. People can readily accept a male guru. However, a woman has to go extra miles and need to be extraordinary to succeed. That’s why even today, a few female Baul practitioners or composers are known by the masses. Recognizing women will build a healthier and compassionate society. Feminine is dynamic energy. It is continuously moving and hence it is continuously giving birth, its newness which means creativeness. I can only pray that women should get recognized by the society, get the right respect and space so that they can lead their life fully and freely like anyone else and they should not have to judge themselves.
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