Many
years ago, watching her Shri Sanatan Das Baul, perform the story of Kalia,
Parvathy Baul had a moment of epiphany. She re-visits that moment and
experience and reiterates the power of a good story, well-told
Radha Kohe, Koho Koho Sakhi aro Krishna Kahini,
Lokkho shabodo shunileo jaha puron nahi
goni.
Radha
says, “Sakhi please tell me, tell me more, the stories of Krishna,
Million
words do not suffice to bring his story to a completion”
As long
as mankind will exist, stories too will continue to be told. Though weaved in
familiar human emotions, every story has something new to open our minds to. There
are stories to take us off with imagination beyond the familiar; there are
those that make the unexpected, happen. Stories are memories of those which
took place and of those that didn’t. The Native American Shaman said, “Stories
are told in the silence of memories of a rock since the creations.”
Stories
of men and women; of birds, trees, rivers, oceans, mountains and hills… Stories
make us cry and laugh. They gift us with food for thought. For me, my songs are
my stories; they are are the spiritual history of generations of Baul Gurus, their
insights and experiences, their lives and times are reflected in these songs.
Their songs/stories are handed down by them to the next one who will keep on
singing them, remembering them, re-inventing them. Coming from the depths of
self-realization, these songs/stories are ever relevant to each of us. In a
sense, ours is a ‘Living Story’.
I grew
up with my grandma’s stories, comics, graphic novels, books of short and long
stories, movies, theatre, etc, like any other child. But the true power of
storytelling was revealed to me when I saw my Baul Guru, Sanatan Baba (Guru
Shri Sanatan Das Baul) performing a story of Kalia. For the uninitiated, Kalia
is Krishna. For me, all that existed around him - the stage, decorated
background with hanging flower garlands with names of sponsors, the musicians,
the spectators, everything - became irrelevant. I was not aware of the ambience
around me anymore; subconsciously, I entered a new arena through his story. I
could, in a sense, see, visualize, what he was singing about - the lanes of
Vrindavan, the cowherd boys, Radha’s friends with earthen water pots, the
dawn breaking in Vrindavan... I saw
Radha’s window, I pictured her sitting at her window, I saw the trees, the birds
sitting on the tree singing to Radha, and her looking at the sky which reminded
her of Krishna… I could even see the colours of her Chunri.
It
happened again when I attended a Vaishnava festival of Padhavali Kirtan (that
has been happening for the last 500 years at Shreekhanda in Burdwan district in
West Bengal). Padavali Kirtan is basically a set of Vaishnava poems sung in a
storytelling format based on a specific style of Dhrupad composed in very
intricate rhythmical patterns. The singer was Saraswati Das of Nawadweep and
her spectators/listeners were sitting on all three sides, surrounding her.
At one
point in the story, when she was humbly singing of the surrender of Krishna to
Radha, tears started flowing from her eyes, and yet there was not the slightest
snap in her voice. A man amongst the spectators, sitting on the other side of
Saraswati Das, attracted my attention. He was sitting with a straight spine in
the lotus posture, as if he was meditating. He was so untouched, sitting still
in that eager crowd of listeners. His eyes wide open fixed on the singer, he
was equally present in the space as the storyteller herself. His tears too
started flowing at the same time as the storyteller, his body trembled in bhakti
but his facial muscles didn’t alter his outer expression of stillness. His
hands were wide open as if he was embracing the sky.
Being
the outside-eye to this unique relationship of the story, the storyteller and
her spectators/listeners, I realized that they were experiencing what is called
Sahaja Kumbhaka, a state of unconditional Love/bhakti in their bodies through
the love-epic of Radha and Krishna. I
became aware of the far-fetched potential of storytelling to transcend the
border of mind or even its imagination.
From
being a witness to both my Guru’s storytelling and Saraswati Das’ rendition, I
felt like returning home after a long day of wandering. It is unique in the bhakti
tradition of storytelling to use story as a medium to transcend the layers of the
mind or thoughts into an open space of abundance in true surrender. Unlike
other forms of storytelling that are based on the series of incidents that take
place, this form is based and composed on Bhava and Rasa. The stories of Baul are
based on Asta Swattik Bhava or eight divine qualities. These qualities
represent direct experiences in a Sadhaka’s body. In Chaitanya Charitamrita of
Shri Krishnadas Kabiraj, we find that Mahaprabhu Chaitanya reaches a state of
divine oneness by listening to Vaishnava Padavali. The bhavas expressed in a
story are a transitory passageway to accomplish the much-enduring state of
Rasa. In both Baul and Padavali, Rasas are five - Shantya (peace), Sakhya (courteousness),
Dasya (eternal servitude), Batsalya (compassionate innocence) and Madhur
(sweetness of divine love).
The
other part of storytelling in Baul is connected to the life-stories of great
Sadhakas. These inspiring life-stories deal directly with the different stages
of spiritual journey of a Sadhaka, a radical spiritual quest and attainment of
a Bhakta/Sadhaka.
I have
often found different patterns, symbols and images connected to the Baul
story/song in my Guru’s notebooks, and in some other master’s note-books, but
paintings are not used in Baul storytelling. While singing these stories, the
storyteller envisions all the imageries connected to the story. I started
painting the mirror images of these images that I had envisaged during singing
these stories in my presentation. That’s really how Chitra Katha Geethi was
born in the year of 2001. Since then, I have been looking after and working on
every detail, exploring different ways of conveying stories to a range of
audiences, beyond the borders of Bengal…
The writer is a singer, painter, storyteller and practitioner of the Baul path from West Bengal
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