At first, the team of 22 members, consisting of 16 singers and several musicians, including the youngest member in 12th grade, hesitated about Sunday afternoon practice sessions. After all, Sunday afternoons in a Bengali household are sacred, reserved for leisurely pursuits, elaborate luncheons and post-lunch siestas. But soon every Sunday, as the sun dipped low in the sky, this group made their way to a small studio tucked away in a quiet lane in Mumbai’s Santa Cruz to practise for Baul Robi, a musical exploration to commemorate the 163rd birth anniversary of Rabindranath Tagore, the legendary poet, novelist, painter, composer and Nobel laureate. Such was the magic of Baul music and Tagore’s compositions that even when one of their team members was away for work or vacation, they would log in to Zoom to keep the rhythm and celebration alive. “It seemed counterintuitive, almost sacrilegious, to interrupt the sacred space of rest. But then, we felt the pull of something greater. We would even forget about coffee,” says Anusree Bonnerjee, the Creative Head at Shahana, Tagore Centre for Indian Music and Culture, which aims to propagate the rich heritage of Tagore and help it find new audiences.

Bonnerjee, the driving force behind this musical odyssey, shares her vision: “We want to bring Tagore’s versatility to non-Bengali audiences without diluting his essence.” This vision fuels Baul Robi, a multimedia exploration that invites one and all to delve into Tagore’s connection with the folk music of Bengal, especially the soul-stirring melodies of the wandering minstrels known as the Bauls.

The relationship between Tagore and Baul philosophy runs deep, rooted in shared ideals of divinity and simplicity. Tagore’s interpretation of Baul music played a pivotal role in bringing these melodies to a wider audience and in fostering a deeper appreciation of Bengal’s rich musical heritage. In his Hibbert Lecture at Oxford University in 1930, Tagore revealed the profound influence of Baul songs and philosophy on his own sensibilities. He said, “I have mentioned in connection with my personal experience some songs which I had often heard from wandering village singers, belonging to a popular sect of Bengal, called Bauls, who have no images, temples, scriptures, or ceremonials, who declare in their songs the divinity of Man, and express for him an intense feeling of love.” Around 1915 and 1916, Tagore published songs of Lalon Shah, or Lalon Fakir as he was commonly known—considered by many to be one of greatest Baul philosophers—in the Kolkata-based literary magazine, Prabasi. This marked a significant milestone in the recognition and preservation of this oral music tradition.

Baul Robi has been envisioned as a multimedia journey to better reflect the deep spirituality and universal themes present in Tagore’s compositions, bridging linguistic and cultural divides. When we speak, Upamanyu Bhattacharya, the content head at Shahana, is working on a script for the show that would further help contextualise the songs. “Ultimately, these songs are in Bengali but for a non-Bengali audience, we think the audiovisual aids will help them feel the pulse of Tagore’s unique language and music, crafted from the raw emotions of Bengal’s folk heritage,” he says.

Each chosen song carries echoes of the Bauls. The innovative musical arrangements, blending choral singing and traditional instruments like dotara, khol and manjira, paint a vivid picture of Bengal’s rich music. “Our centre is 49 years old, and our effort has always been to present the versatility of Tagore and to bring the younger generation closer to him. Baul Robi will help create a visual memory of Tagore’s music, especially for the young and uninitiated,” adds Bonnerjee. It is not just about hearing the melodies; it is about experiencing the stories woven into the notes.

The songs selected are simple in their language and expression but carry deep esoteric meanings about the futility of material existence and the need to lead a spiritual life. Bonnerjee and Bhattacharya both list the various themes that Tagore has explored in his songs from seasons to spirituality, mysticism, love, God and patriotism. “The scope of Tagore’s music is so diverse but the common thread across it all is his love for humanity and nothing can be more contextual at this moment than this,” adds Bhattacharya.

Sukanya Sarbadhikary, a research scholar and Assistant Professor of Sociology at Presidency University, Kolkata, believes that the important element that connects Tagore and Baul music are certain interpretations of Upanishadic philosophy. “Tagore’s childhood, his growing up in a Brahmo environment, his internalisation of critical Upanishadic concepts are things we are aware of and at the same time the Baul philosophy also has elements which are akin to Upanishadic philosophy, which I think appealed most to Tagore,” she says.

Sarbadhikary further explains that Baul philosophy is a syncretic tradition that brings together elements from tantric texts, Buddhism, Sufism and Hindu scriptures in its practices and songs. “Philosopher and social reformer Lalon Fakir’s ashram was situated within the zamindari estate where Tagore was growing up. It is a matter of debate whether Tagore ever met him but that is irrelevant because Tagore had active engagements with Lalon Fakir’s disciples. One among them was a peon who used to roam the village exchanging letters and while doing that, he is said to have been singing Baul songs. These tunes reached Tagore. When we think of Tagore’s songs, which are influenced by Baul music, we think both about the lyrics and the melody. The central philosophy in the lyrics is about the body being a vessel for divinity. Coming to the music, the sheer simplicity of the music is also found abundantly used in Tagore’s songs.”

Even the melody of Tagore’s iconic song ‘Amar Shonar Bangla’, now the national anthem of Bangladesh, finds its roots in a Baul composition called ‘Ami Kothay Pabo Tarey’. Tagore’s adoption of the simplicity from Baul music was not just an artistic choice; it turned out to be a powerful political tool. During the 1905 Bongo Bhongo Andolan, many of Tagore’s political songs were infused with Baul tunes. This strategic choice expanded their reach significantly. “Because for the Bengali ear, these tunes carried a definite rural nostalgia, and this was important to imagine an undivided Bengal,” adds Sarbadhikary.

As we reflect on this musical and philosophical fusion, one wonders: does the harmony of Baul Robi echo a deeper truth about our shared human experience? Could it be that within these melodies lies a bridge that transcends divides? Could Baul Robi remind us of our shared humanity and the universal quest for love, spirituality and connection?