Department of Music, Ramsaday College, Amta, Howrah, WB,
India
Abstract:
In this paper, an attempt has been made to present, in a very simplified manner, a reflection of the daily life and philosophy of all classes of people in rural Bengal through the medium of Bengali folk music. Through the exploration and analysis of the significance, depth, and impact of various folk songs from different regions of Bengal, a comprehensive picture of the reflection of rural life in the then-prevailing social system has been presented. With the help of this paper, any researcher or individual may gain a detailed understanding of the unique essence of social messages of rural life through Bengali folk music.
Key Words: Folk Music, Bengal, Rural Life, Social Message, Reflection.
Introduction:
It is impossible to state exactly when folk music originated in the history of Indian music. Because, folk music has been passed down orally from generation to generation for ages, no written history of it has been recorded. Although there are various debates regarding the origin of folk music, based on the opinions of different authors, musicologists, researchers etc. it can be said that the first identity of Indian music is found in Vedic literature. The original meaning of the word ‘folk’ is ‘common people’ or the ‘masses’. The origins of the word can be found in Old Norse, English, or Germanic languages, where it was primarily used to refer to a tribe, an army, or a lineage1. To discuss the folk music, it is necessary to have an understanding of the various branches of India’s human ethnic groups. This is because folk music is the song of the common people, built upon the rhythm of their daily lives.
The ‘Negrito’ race, arriving from Africa, spread across various parts of India, including the Andaman and Nicobar Islands, Cochin, the Rajmahal hills of Bihar, and Assam. Following them, the name of the ‘Adi-Australoid’ or ‘Proto-Australoid’ race appears. These ‘Proto-Australoid’ people eventually evolved into various Indian tribal communities, such as the Santals, Mundas, and Todas. In the lyrics and melodies of various traditional folk songs of Bengal, particularly from the Rarh region, there has been a significant blending of the languages and tunes of these indigenous tribes2.
Folk music essentially refers to a culture that is traditionally practiced within a small, homogeneous rural group living somewhat in isolation from other groups. The tradition of folk music is extremely diverse. This folk music of is a traditional form of culture that has been passed down through generations via oral tradition. It places more importance on ancient traditions or methods than on novelty and is deeply connected to the community’s sense of unity3. Regarding this oral tradition, Martins (2012) noted that it began at the very dawn of human civilization, predating the invention of writing systems. He further mentioned that information was transmitted orally from one generation to the next4. Various regions of Bengal possess their own unique traditions of folk music. The language, customs, and beliefs of different folk music traditions, formed by various tribes, are distinct and diverse.
Bengali folk music is generally composed around themes such as rural life, nature, the candid joy of a devoted heart, and unpredictable sorrow. Therefore, at the root of this musical creation lies a specific emotion and the unpretentious backdrop of a natural environment. Folk music is the voice of the common people, reflecting their daily lives. It encompasses the stories and experiences of all classes within rural society, including farmers, weavers, blacksmiths, potters, fishermen, and boatmen. It is a medium whose melody directly touches the heart and expresses the deepest emotions of the human soul. This music is born, developed, and preserved among the common people of rural Bengal and is related to religion, festivals, education, health, emotions, love, marriage, separation, and entertainment. In other words, the folk music of Bengal is a unique mirror reflecting the daily life and philosophy of people from all walks of life within rural society. Consequently, exploring the significance, depth, and impact of this folk music can become a unique path to reflecting the daily life of all rural Bengal and unveiling its social messages.
Bengali folk music can be divided into two categories. The first is tribal songs, and the second is the traditional folk songs of Bengal2. The traditional folk songs of Bengal can be divided into various categories based on their subject matter5. The classifications are as follows:
- Domestic: Marriage, pregnancy, childbirth, etc.
- Ceremonial: Rituals (Brata), fairs, festivals, etc.
- Occupational: Rowing boats, planting paddy, house construction, etc.
- Romantic: Union, separation, etc.
- Nature-related: Spring, Monsoon, and other themes connected to the natural world.
- Theological: Knowledge of the Divine (Ishwar-tattva), Knowledge of the Body (Deha-tattva), etc.
- Divine Glory: Mother Manasa, Mother Chandi, and Others.
- Narrative-Based: Stories of the Ramayana, Mahabharata, Bhagavata, and Others.
The geographical classification of Bengali folk music into four major categories2 is as follows:
- North Bengal (Cooch Behar, Jalpaiguri, West Dinajpur etc.)- Gambhira, Bhawaiya, Chatka, Gomira, Garwali Gaan, Mahut Bandhur Gaan (Songs of the Elephant Mahut) etc.
- East Bengal (Bangladesh)- Bhatiyali, Sari, Jari, Panchali, Holi Gaan, Neel Gaan (Songs of Neel), Trinather Gaan, Dhamail, Dhan Katar Gaan (Harvest Songs), Chhad Petanor Gaan (Roof-Beating Songs), Murshidi, Agamani-Vijaya etc.
- West Bengal (Rarh Bengal)- Bhadu, Tusu, Jhumur, Leto, Jhapan, Gajan, Potuar Gaan (Scroll Painter’s Songs), Sap Dhara & Sap Khelanor Gaan (Snake Catching & Charming Songs) etc.
- South Bengal- Bon-Bibir Gaan (Songs of the Forest Goddess), Ghentu Gaan, Manik Pirer Gaan, Gajir Gaan, Dakshina Rayer Gaan etc.
Literature Survey:
- In the journal Swar Sindhu (National Peer-Reviewed/Refereed), the paper titled “Tradition of Folk Songs of Bengal: A Study with Reference to its Regional Variety” by Shyam Nibedita and Pandit Dr. Sangeeta explores the diverse folk music of various regions of Bengal. Through research and analysis, the authors highlight key aspects such as their thematic content, tradition, and geographical context1.
- In the paper “Dying Folk Music of West-Bengal,” published in the International Journal of Novel Research and Development by Disha Mondal, the author explores various genres of Bengal’s folk music and provides a detailed discussion on them. Furthermore, the study examines how these folk traditions are facing severe challenges and the threat of extinction due to the influence of urbanization and Western culture3.
- In the paper “Oral Literature and Naga Cultural Identity: A Discourse on Folk Songs as Agents of Transmission and Preservation” by Neizevonuo Suokhrie, published in the International Journal of Creative Research Thoughts, the author highlights how folk music is an indispensable part of cultural heritage. The study reveals that folk songs are deeply intertwined with and inseparable from oral tradition4.
- The paper “Folk Songs of Bengal Performed by Men: A Glimpse” by Pradip Byapari and Dr. Jayanta Kumar Barman in the Journal of Emerging Technologies and Innovative Research highlights the male-centric nature of many Bengali folk songs. The study examines these songs as carriers of social messages while addressing their decline due to modernity and proposing preservation methods. For more details, explore the research through the Journal of Emerging Technologies and Innovative Research6.
- In the paper “Folk Music and Indian Musicology” by Dr. Kumar Sargam, published in the Swar Sindhu: National Peer-Reviewed/Refereed Journal, the author explores the relationship between Indian musicology and cultural diversity. The discussion seeks to uncover the diverse musical traditions of humanity within the framework of Indian folk music7.
Research Methodology:
The primary research objective of this paper is to explore the depth, significance, and influence of the diverse folk music traditions across different regions of Bengal. Through discussion and analysis, the study attempts to present all these aspects with the help of various information. The nature of this research is purely descriptive.
Various research journals and books have been utilized as sources for collecting all relevant research information.
Area of study:
In this research paper, the study area includes the diverse folk music of various regions of Bengal, where four specific folk songs have been selected according to the four geographical divisions. For example- 1) North Bengal: Bhawaiya, 2) East Bengal: Bhatiyali, 3) West Bengal: Bhadu and 4) South Bengal: Gazir Gaan.
- Bhawaiya:
Bhawaiya is a widely popular folk song of North Bengal. The word ‘Bhawaiya’ originates from ‘Bhav,’ which signifies a specific feeling or emotion1. Through this folk music, the poignant melody of the pain of separation between lovers is particularly expressed. Since this melody’s sweet resonance is capable of aptly capturing the inherent emotions, this song can truly be called Bhawaiya. A characteristic of this song is a unique vocal modulation or “break” within the elongated notes. Various themes such as love, separation, pain, and resentment are observed in these songs.
Based on regional names, Bhawaiya is categorized into five types: (A) Chitan, (B) Khirol, (C) Dighalnasa, (D) Garan, and (E) Moishali2. Through the analysis of these five types of songs, various perspectives on the social conditions of that period are highlighted in the following musical examples.
- Chitan:
“Fande poriya boga kandere।।
Fand bosaiche fandire bhai puti macho diya
Ore macher lobhe boka boga pore ural diya”।।
- Analysis and Discussion:
The central theme of this song is the tragic tale of humans chasing petty interests and getting trapped in the bonds of worldly illusion. The song reflects a deep spiritual philosophy of the soul becoming trapped in the web of earthly greed and worldly illusion (Maya). Through this, the lack of foresight in falling into the traps of worldly pleasure, greed, and illusion (Maya) are clearly highlighted, along with themes of karmic consequence, remorse, repentance, and profound yearning.
The song conveys a valuable social message about the futility of worldly illusions and the importance of self-restraint for the people of that society.
- Khirol:
“Ailo bando kanya jolore cheko
Gaye kanya Kado Makho,
Aji Chouk Tuli kanya Dyakho Amar Age hey”
- Analysis and Discussion:
The song serves as a call for ordinary people—entangled in the muddy web of worldly illusions and domestic chores—to turn their focus toward their true goal or the Supreme Soul. Even amidst worldly duties, the themes of spiritual awakening and the surrender of love have also been portrayed. In essence, it points to being trapped by the illusions of the mortal, mud-clad body, and serves as a call for humans to lift their gaze toward the Supreme Being. Through this song, the Creator or Supreme Soul beautifully guides the individual soul to look beyond worldly chores, renounce earthly illusions, and seek the path of spiritual liberation.
Through this song, an aesthetic expression of rural simplicity, the bond with the soil, and mutual compassion through work—along with spiritual awakening amidst worldly duties—emerged as a significant social message of that time.
- Dighalnasa:
“Oki gariyal bhai
Koto robo ami panther dike chaya re।।
Jedin gariyal ujan jay narir mon mor bujhiya roy re” ।।
- Analysis and Discussion:
Through the figure of a longing woman, the song portrays the soul’s intense yearning for proximity to the Supreme Soul or the Creator. In essence, the entire theme is portrayed through the solitude of humans on earth and a poignant plea to return to the Divine. In this context, the waiting for a loved one essentially symbolizes the individual soul’s intense longing to unite with the Supreme Soul. In essence, the song points toward the longing for liberation in this life or the spiritual pursuit of the soul. This deep spiritual yearning to transcend earthly illusions and unite with the eternal truth also highlights the profound loneliness of human existence.
Through the simple words of the song, the eternal waiting, unfulfilled desires, and the melancholic tone of separation have emerged as a reflection of the social messages of that era.
- Garan:
“Mor sona chariya ore geiche।
Bondhu hey agduyare ruiyare kola,
Bokdule chusiya khaibe re।
Bondhu hey chochar bhagi hoiben tomra re” ।।
- Analysis and Discussion:
Within the song lies a deep hidden meaning concerning the transience of life and spiritual philosophy. Through the song’s profound metaphysical themes (Dehatattva), the transience of the human body is compared to that of a banana tree. Through the song, the futility of worldly beauty and youth, as well as the inevitable truth of death, have been portrayed. Through this, the transience of life, the frailty of the human body, and above all, the essence of spiritual philosophy have been beautifully portrayed.
Through this song, the profound and clear realization that human beauty, youth, and pride are all transient has emerged as a social message of that time—urging people not to be blinded by worldly illusions but to seek the eternal truth.
- Moishali:
“Pran kande mor moishal bondhu re।
Mohish choran moishal bondhu ghater ujane।
Tomar mohish er ghontar baije
Mon urang bairang kore re” ।
- Analysis and Discussion:
Through the song, a deep spiritual and metaphysical philosophy (Dehatattva) has been portrayed behind the veil of the separation between a buffalo-herd (Moishal) and a woman. Through the song, the intense yearning of the soul for the Creator or the Supreme Being has been portrayed through the figure of a longing woman. In this context, the Moishal friend (buffalo-herd) represents the Supreme Soul, whose call stirs the seeker’s mind with divine detachment (vairagya), causing the individual soul to yearn intensely for His presence.
The song is simultaneously a profound expression of earthly romantic pull and spiritual yearning. Through it, the desire for spiritual liberation by transcending worldly illusions has been conveyed as a significant social message.
- Bhatiyali:
This widely popular folk music of East Bengal. The word ‘Bhatiali’ originates from the word ‘Bhata,’ which means the downstream flow or the downward pull of a river1. The compassionate boatmen of Bengal sing this song with a free and open voice, in a long-drawn melody and a pensive mood, as they let their boats glide along the downstream current. An analysis of the diverse perspectives on the various situations of the then-social system is presented below as a social message through the philosophical depth of several songs. The songs are2 centered around themes such as I. Feeling of Separation, II. Philosophy of Dehatattya, III. Divine Vision etc.
- Feeling of Separation:
“Jokhon bondhu jolbe re pran
Amari nam loiyo
Amar dewoa malar sone
Dukhhur kotha koiyo ।
(Bondhu amar nam loiyo)
Ami roibo tomar loigya
Tumi roiba amar loigya (re)
Ami roibo tomar loigya
E jonomer asha loiya,
(Bondhu) ar jonome aiso
Bondhu amar nam loiyo ।
Bidhi moder hoilo re bam
Milon nahi hoilo,
Ar jonome aisa bondhu
Amare loiya jaiyo,
(Bondhu) amar nam loiyo” ।।
- Analysis and Discussion:
This song captures the profound pain of separation from a loved one and the agony of staying apart due to worldly obstacles or fate. However, it also portrays through deep sorrow that even if love remains unfulfilled, the emotional bond never truly ends. At the same time, it highlights the longing for a reunion in the afterlife following the separation from a loved one. Beyond the unfulfilled longings of the present life, the irrepressible desire for a reunion in the afterlife is captured through simple rural language, giving the song a soulful, down-to-earth sweetness.
Overall, the song emerges as a social message, expressing a profound yearning for love, purity, and reunion amidst the agony of separation.
- Philosophy of Dehatattya:
“Ore bhobonodir majhi,
Ami jonom bhoirya baiya gelam
Akul doriyai ।
Amar naye pari dichi
Nityo notun soyarire,
Shokto hate baichire dar,
Roide jole puirare
Jokhon othoi jole ami vasi,
Charidike phenar rashi
Kemon koira dibo pari
Okul doriyai
(O majhi) tumi aisa dhorore hal,
Bhobo nodi koro amai” ।।
- Analysis and Discussion:
Through this profoundly meaningful, spiritual folk song on the philosophy of the body, the human body is compared to a boat, serving as a metaphor for liberation from worldly life. Even if a person seeks to navigate through life through their own deeds and ego, they ultimately surrender to the Supreme Soul or the Creator in life’s most difficult moments or at the threshold of death. The core message is that ultimate peace can only be achieved not through one’s own efforts, but by breaking free from the illusions of the worldly life through the Creator’s grace. On one hand, it portrays the human struggle for survival, while on the other, it conveys a message of unconditional surrender to the Almighty.
Through the message of this song, the twisted paths and aimlessness of contemporary social life are revealed, expressing a poignant yet profound philosophy of life—ultimately surrendering oneself to the hands of the Unknown. Through this song, one can discover a social message reflecting the philosophical, spiritual, and worldly journey of the inner soul of simple rural folk.
- Divine Vision:
“Ore bolda naiya
Bhobonodi kemone jabi baiya ।
Jhor tuphane othere nawo heliya duliya,
Ore samal, samal, dhorore pari
Gurur namti loiya ।
Akatha mondarer nawo modhyikhane choiya,
Ore ager thone pache jaite
Choiya pore khoiya” ।।
- Analysis and Discussion:
Through this song, the mortal body, the fleeting nature of life, and the metaphor of crossing the ocean of worldly existence are explained, while the egoistic mind is urged to follow the path shown by the Guru. In its lack of wisdom, the arrogant mind of a foolish person often steers the boat of our life down the wrong path. Therefore, to cross the river of worldly existence, it is absolutely essential to seek refuge in the ‘Name of the Guru’ or true knowledge. So that through the remembrance of the Guru or the Creator, one can overcome life’s various storms and the limitations of the mortal body, finding the only way to cross the worldly ocean through true spiritual knowledge.
The song conveys a social message that in the illusory world of that era, self-knowledge and the shelter of a Guru are essential to weather the storms of life and reach the other shore.
- Bhadu:
This is a prominent folk song of West Bengal. In the month of Bhadra, young girls in various villages create idols of Bhadu, similar to those of Goddess Lakshmi, and worship them while singing songs. While the primary theme of these songs is generally marriage, various contemporary topics also find expression through the form of Ramayana-based Panchali songs. This festival is celebrated through fairs and various cultural programs3. Women from the Bauri and other marginalized communities especially celebrate this festival2. An analysis of these perspectives is presented below as a social message, explored through the philosophical depth of several songs. The songs are centered around themes such as i. Feeling of Arrival (Agomoni), ii. Political-Spiritual Perspective, iii. Feeling of Immersion (Bisorjon) etc.
- Feeling of Arrival:
“Amar ghorke bhadu elen
Kuthhake bosabo, Kuthhake bosabo
Piyal gacher tolai
Ason sajabo ।
Na, na, na
Amar sonar bhaduk
Kole tule libo” ।
- Analysis and Discussion:
Through this song, amidst the festive atmosphere of Bengal, a poignant picture emerges of the yearning to embrace Goddess Bhadu as one’s own daughter. Through the lines of this song, a genuine picture emerges of the devotees, overwhelmed with joy upon receiving Goddess Bhadu, and becoming lost in a state of sweet, blissful confusion. Because, although the song initially speaks of seating Goddess Bhadu on a decorated throne under a Pial tree, the eventual decision to take her onto one’s own lap demonstrates the profound love of the devotee.
Through the arrival of Bhadu, a wonderful example of the devotees’ simple devotion, parental affection, deep tenderness, and profound love emerges as a social message reflecting the spirit of that time.
- Political-Spiritual Perspective:
“Bhadudhon chorok ghuralyo
Ghurchi vi-son pake thoyor na mile ।
Ja khushi tai bolo tumi, torak boli h,
(Amra) dubechi ki, dubte baki
Kenoi Janina ।
‘Rakho dhorom’ ‘Rakho dhorom’
Bole checha koralyok
Ki je hobek ke bolbek lagol na mile,
Adh pagla koirya moder
Asto dubalyo” ।।
- Analysis and Discussion:
If the song is interpreted from a political standpoint, it reveals the aimlessness, uncertainty, and the desolate state of social unrest of that era; conversely, through a spiritual lens, it captures the illusion of worldly life, self-dedication to the path of devotion, and a deep inner yearning amidst the external turmoil of religious preservation.
A closer look at the lyrics reveals that they speak of Goddess Bhadu, or the Supreme Soul, turning the wheel of fortune. Where, amidst the constant spinning in the cycles of fate or the labyrinth of worldly life, one cannot find a single shelter or a shore to find stability. At times, the scene depicts drowning in the ocean of devotion or the trance of illusion; at others, it speaks of preserving religion, or being completely overcome by devotion, attachment, and deep emotion.
- Feeling of Immersion:
“Biday dite mon sorena Bhadu tomare
Nischoi jodi jabi go Bhadu,
Bhulis na amare,
Jachho jodibhadumoni,
Kendo nako monomohini,
Ar bochhor thaki jodi bhadu-
Anibo tomare ।
Ar kendo na, dhoirjo dhoro-
Masik pronam grohon koro,
Ki korbi, jetei hobe Bhadu-
Bidhatar niyom re” ।।
- Analysis and Discussion:
This is a popular and emotional song of the Bhadu festival, sung during the immersion of Goddess Bhadu at the end of the month of Bhadra. Through this emotional immersion song, on one hand, the poignant sorrow of bidding farewell to Bhadu like one’s own daughter is portrayed; on the other hand, it expresses the hope of bringing her back next year and a mournful regret in submitting to the laws of providence.
The deep melancholy and sense of longing that arise in the hearts of devotees during the immersion are vividly captured in this Bhadu farewell song. However, the devotees find peace by setting aside the grief of immersion, holding onto the hope that if they survive another year, they will bring back their ‘daughter’ with great pomp and seat her on a throne, adorned even more beautifully. Through this song, the immersion of Goddess Bhadu is portrayed as an inevitable decree of fate, much like the custom of sending a daughter of the house to her in-laws’ home one day.
This melancholy moment of farewell is one of the key philosophical aspects of Bhadu songs, where a poignant plea to accept the laws of nature or the decree of providence emerges as a social message of the contemporary social system.
- Gazir Gaan:
Just like the Vaishnavas, Vaishnavis, and the specialized group of Baul mystics in Hindu society, the Sai-Darvesh and Gazi-Fakirs of the Muslim community also travel across rural Bengal performing philosophical and devotional songs2. A wonderful depiction of the harmony between the Hindu and Muslim communities of the contemporary social system is presented below through one such song.
- Philosophy of communal harmony/ Communal philosophy/ values of communal harmony:
“Musolmane bole go Alla,
Hindu bole Hori,
Nidan kale jabore bhai,
Eki pothe choli re
Doya ni koriba Alla re ।
Goyale jai go bondek diya,
Goyalini roy chaiya re,
Goyale oiriya bachur hamba hamba
Dacite lagilo re,
Doya ni koriba Alla re” ।
- Analysis and Discussion:
Through this song, the message of surrendering to the Supreme Being, while setting aside all human differences, is highlighted. The eternal and universal truth—that despite the differences in outward religious rituals, the Creator and the ultimate human destination remain one and the same—is beautifully portrayed here. Through a prayer to Allah, this song conveys the message of finding the right path and shelter during difficult times.
The song is built upon a foundation of profound spiritual and folk philosophy. A person’s true identity lies not in their religion, but in their humanity and their profound devotion to the Creator. This ultimate reality emerges as a wonderful aspect of the Hindu-Muslim harmony within the social system of that time.
Conclusion:
This paper discusses the significance, depth, and impact of various folk songs from different regions of Bengal. Through the analysis of various folk songs, this paper presents the social, political, and religious contexts of the daily lives of all classes of people within the contemporary rural social structure as a significant social message. This paper certainly may highlight the comprehensive idea regarding the social messages of the folk songs in the contemporary social system for North Bengal, East Bengal, West Bengal and South Bengal respectively.
References:
- Shyam Nibedita, Pandit Dr. Sangeeta, “Tradition of Folk Songs of Bengal: A Study with Reference to its Regional Variety”, Swar Sindhu: National Peer-Reviewed/ Referred Journal of Music (2024), Vol. 12, pg. 37, 37-41, 38, 40.
- Roy, Buddhadev, Lokasangeetikee, Pharma K. L. M. Pvt. Ltd., Kolkata, pg. 1, 8, 9, 12-13, 30-31, 71-73, 87.
- Mondal, Disha, “Dying Folk Music of West-Bengal”, International Journal of Novel Research and Development (IJNRD) (2023), Vol. 8, pg. D1, D1-D3, D3.
- Suokhrie, Neizevonuo, “Oral Literature and Naga Cultural Identity: A Discourse on Folk Songs as Agents of Transmission and Preservation”, International Journal of Creative Research Thoughts (IJCRT) (2024), Vol. 12, pg. g2, g1-g7.
- Ghosh, Shambhu Nath, Sangeeter Itibritta (1st part), Meera Nath, Kolkata, pg. 113-114.
- Byapari Pradip, Barman Kumar Dr. Jayanta, “Folk Songs of Bengal Performed by Men: A Glimpse”, Journal of Emerging Technologies and Innovative Research (JETIR) (2025), Vol. 12, pg. c579- c582.
- Sargam, Dr. Kumar, “Folk Music and Indian Musicology”, Swar Sindhu: National Peer-Reviewed/Refereed Journal of Music (2021), Vol. 9, pg. 120-125.