From ancient time undivided Bangladesh was a place for the co-existence of many religions and opinions. These forests & rivers of Bengal were conquered by different nations of different ages and have lived here. Thus, in the historical period from the Austric, Nishad, Mongal Kirat, Dravidian, Alpine Aryan to Magadha, Nand, Maurya, Sung, Kanb, Gupta, Pala, Sen and in East Bengal, Chandra-Barman-Dev-Khad other external rulers ruled Bengal and took control.
Thousands of years ago, beginning Bengali language, during the rule of Pala dynasty major religion of Bengal was Buddhism. Verses (Doha) from Siddhacharyas of Vajrayana-Sahajayana, oldest examples of Bengali language & music. These Siddhacharyas expressed their Body-Centric Tantric Yoga realization expressions, experience of the enlightened state and composed verses in enigmatic language (Abhishandhik) as “twilight language” (Sandhya-bhasha), or Alo-andhari (half expressed and half concealed). It is understood that these verses are songs due to the presence of different Raga’s in it. After this, during the strong Hindu rule and oppression of Sen Dynasty, many Buddhist stupas, monasteries and temples are either destroyed or transformed into Hindu Temples. Buddhist Sahaja Practitioners (Sahaja Sadhakas) were secretly practicing Sahaja Dharma (Religion) behind Hindu religion. Together with the Turkish invasion Islam religion has entered into Bengal. Along with it also enters Sufis. Sufis Yogic pursuit and Sama Song easily intrudes into the people. Early liberal Sufis and Bengals Sahaja practitioners were easily coexisted and cohabited.
The Bhakti movement of Mahaprabhu Shree Chaitanya brought wave of devotional love. Chandidas, Rai Ramananda and Lord Avadhut Nityananda were Sahajiya Sadhakas before Chaitanya. In his time Chaitanya popularized chanting of Naam Sankirtan (A religious Carol – Hare Krishna Mantra) in Bengal. After disappearance of Chaitanya, Narottam Das Padawali furnished Kirtan a more consistent and consolidate look.
After disappearance of Mahaprabhu, Vaishnavism was influenced by Brahmanyabad. During this time, many Protestant Folk Religion were born, who rejected Casteism, social prejudice, division of religion, formalization of religion and started spreading teaching of Body-Centric Yoga Sadhana (Spiritual Practice) as a mainstream religion.
Their spiritual techniques were the combination of Sahajiya Buddhism-Nath-Vaishnava and Sufi meditations. They believe in Guru, but do not think the religious script is accurate. Amongst these folk religions like Aaul, Baul, Kartabhaja, Sahebdhani, Bolahari, Sai-Darbeshi, many other beliefs and dogmas were popularized. Together these dogmas were called Baul and their composed verses & songs are called Baul songs. Chistia and Kaderia sects of western Sufi sects mixed with Bengal’s Sahaj Sadhakas and became one of the most important branch of Baul song. These sects of Baul Sadhakas composed their songs in allegorical language, which were in line and preserved with the tradition of the Guru-disciple-community order.
There are many theories about the meaning of the word Baul. According to many, the word Baul is derived from the Sanskrit word Vayul. Adding a suffix “Law” to the word “Vayu” meaning Wind becomes Vayul. It means fused with wind. In Sahajiya Buddhist- Nath-Vaishnav and Sufi Yoga practices study and practices of Wind is an important part.
In nineteenth century, Fakir Lalon is the most important of the Baul song’s verse writer, through whose lyrics there was complete expression of Baul philosophy and meditation. In addition to Lalon, in his contemporaries and later, many Baul saints have composed thousands of verses and have continued to do so till today.
Various variations of Baul songs, tunes and singing can be noticed in the varied geography of Bengal. Various differences between the tunes and performances of Baul songs of Nadia-Murshidabad or North Bengal with Baul songs in Rarh Bangla like Bankura, Birbhum and Burdwan in West Bengal. With regard to songs of Kushtia, Meherpur, Pabna, Khulna region of Bangladesh, some distinctions of language and tunes can be found in Dhaka-Jessore region or Baul songs of Sylhet-Chittagong region. Although this is the external distinction, the basic theory and philosophy of the Baul songs are the same in all respects.
The folk instrument that is associated with Baul is Ektara (Single String). In addition to Ektara, the main instruments of Baul songs are Khamak or Gabgubi, Dotara, Sarinda, Behala, Flute, Khol, Dupki, Dhol, Juri, Mandira and Ghungur.