BAULIANA AND ARCHITECTURE

Correspondence between Mac Haque and RKM

REMARKS: This document contains email exchanges with an Architecture student

and me which may prove useful for those interested to know whether the Bauliana

philosophy can be incorporated to a skillful discipline such as architecture. The name

of the student and her institution is not mentioned here with respect to her

confidentiality. RKM’s emails are in italics :

(1)

dear Mac (i don't know if to call you sir, uncle or brother; whatever you prefer),

my name is RKM. i am an undergraduate student of B.Arch at **** *** Uni. i read your

book Bauliana: Worshipping the Great God in Man last year for my thesis i am doing

this semester. and i have a few questions. i don’t know if your contacts are still on

service. but hoping to hear from you as confirmation.

thanks.

Regards

RKM Ahmed

(2)

Hi RKM,

Thanks for your mail. Yes my contacts are still okay so please feel free to get in touch.

Cheers

Mac (is good enough!)

(3)

dear Mac,

i don't know how to pose the questions, maybe you can even help me bring them out..

please find attachment "the place of philosophy in my project and methodology".. maybe

it'll help you understand why i need your help as an "Outside." i am trying to start with

preparing a questionnaire to let you brainstorm..i'll post them as soon as you read this

and send me back an e-mail!

with loads of appreciation to your work,

RKM

Attached File Contents:

The place of philosophy in my project and Methodology

“The outside is a peculiar place, both paradoxical and perverse. It is

paradoxical insofar as it can only ever make sense, have a place, in reference

to what it is not and can never be—an inside, a within, an interior. And it is

perverse, for while it is placed always relative to an inside, it observes no

faith to the consistency of this inside. It is perverse in its breadth, in its refusal

to be contained or constrained by the self-consistency of the inside. The

outside is the place one can never occupy fully or completely, for it is always

other, different, at a distance from where one is. One cannot be outside

everything, always outside: to be outside something is always to be inside

something else. To be outside (something) is to afford oneself the possibility of

a perspective, to look upon this inside, which is made difficult, if not

impossible, from the inside. This is the rare and unexpected joy of

outsideness: to see what cannot be seen from the inside, to be removed from

the immediacy of immersion that affords no distance. However, this always

occurs at a cost: to see what cannot be seen is to be unable to experience this

inside in its own terms. Something is lost—the immediate intimacy of an

inside position; and something is gained—the ability to critically evaluate that

position and to possibly compare it with others.” (Grosz 2001)

Philosophy has always taken a safe position criticizing other disciplines helping them

ask question which set them out on further understanding. There’s philosophy to

everything. Philosophy could not have survived if not fed from everything. And, that is

why I chose to explore how philosophy shapes up a certain built form, understand

philosophical part of my designed architecture. I want to know what philosophy has to

teach us, architects. Fakir Lalon Shah’ji’s contribution to the timeline is beyond a

cultural genre but a philosophy of a lifestyle, which is very advanced in my opinion

and competes in the cosmic scale of philosophies. While concepts of the social, the

cultural, the collective, and the communal have always oriented architectural

interests, it is the outside condition of the community—the alien or the stranger—that

serves to cohere and solidify a community as an inside. The place of the destitute, the

homeless, the sick and the dying, the place of social and cultural outsiders—including

women and minorities of all kinds—must also be the concern of the architectural and

the urban just as it has been of philosophy and politics.

I wish to ask questions to the outsides to incorporate other perspectives in my thought

process and my intentions towards my project. I want to look at my project beyond my

field, but from different disciplines and see if/ how those hidden layers of architecture

can be revealed. I intend to interview experts from different disciplines by

questionnaire and incorporate those inputs in the design process.

(4)

Dear RKM,

Thanks for sharing the paper.

I don’t know how far Bauliana or Lalon Shai-ji's philosophy can have any relationship

with architecture as we do not believe in any 'home' at all - but it will be interesting to

see your questions, so please go ahead and send them to me.

Regards

(5)

Dear Mac,

Not quite true...you may not believe in the "concept of home" which is possession, but

you still need shelter. however, i am not designing homes for Bauls. i am trying to work

up a new typology of architectural languages. From my understanding to the current

society and my belonging in it, i find it crucial to have a formal genre of architecture of

such spiritual practice that have been considered outside the genre "religion" and a

lifestyle that's been practiced quite largely (the percentage definitely cannot be just

omitted from the society demarcated "alternative"). if you want to know more about

what i'm thinking regarding the matter.. i can send you my paper..

i'm proposing a typology...not a project of asram or educational institutes, or research

centre (which had been my prior proposal, of a complex of all these, but after many

debates i came to realize that this is what my thesis should be of; to identify the

characteristics of an architectural typology which does not fall under any of these,

rather requires in-depth analysis of the context)...and to do this..i need to establish

certain parameters and come up with specific solutions of things like areas of

experiential spaces, connection and detachment of the functional zoning, percentage of

natural and built environment etc...again if you want to know more..i can share my

ideas with you later..

the part where i need your help is answering a questionnaire..which i haven't yet been

able to structure properly.. considering you're an example of the user group who are not

a formal followers but may live the life of a Baul (culturally and philosophically), not

necessarily living outside the society..(even if you don't see yourself that way, let's say,

you fit the category the best, for arguments' sake?) there are many of this kind, right..??

i haven't been able to prepare a questionnaire yet..but i'll start with some questions...

1. we know, there are some formal steps to join a Baul community, what do you feel

about them? can a person never join an akhra and still be in the path of self-finding ?

2. the concept of mentor is very crucial in lalon shaiji's philosophy, at which point do you

need a mentor?

3. do you need to be under direct guidance/observation? or you can receive instruction

time to time?

this is all i can think of right now...and, now you have a hazy sketch of where i'm trying

to go to..so please feel free to suggest anything that comes to you...

Thanks,

RKM.

PS: really sorry for getting back to you so late..i have been really busy trying to make my

argument clear to some block-headed faculties who keeps questioning before even going

through all of what i had to say.

(6)

Dear RKM,

Thank you for your kind email and the many areas you have covered.

I note several 'constructs' in your comments which I would like to address at the

outset, before I answer your questions.

I may add, that your constructs are no different from many I get to see on TV or the

innumerable papers I get to read on Bauliana or the movie "Moner Manush" that

advances the convoluted idea that Bauls are a 'sex, drugs and rock and roll hippie

culture"! This construct is rampant and one the Bauls abhor.

The problem is right here, for urban constructs have typically looked at the entire

paradigm of spirituality with eye-glasses that suits them. Classic among them is

'spiritual'' or 'addhyatik' people live and circulate somewhere very close to some 7th

'celestial paradise' where only the 'select' are granted entry.

That Bauls are members of society and not outside it, have lived and worked within

the society and is a potent force to be reckoned with, is totally non-existent in the

urban understanding and narratives. We have more often than not been categorized a

'subaltern class', or the more maligning term 'subordinate culture'. Therefore the word

'spiritual' needs to be more focused, because Bauls are not 'human beings having a

spiritual experience, but spiritual beings having a human experience'.

That said I take the first two words of your mail "Not true' up for scrutiny.

Bauls reject anything called ‘truth’. They believe that arriving at truth can only be

guided by collective, cohesive human axioms, and transposing them to the vibrations

of ancient wisdom of all humanity, not necessarily the ones that have been in our

midst for a few thousand years only. The complex human mind is constantly evolving,

expanding and is by nature expansive. Therefore Bauls believe even axioms

themselves are perceptions, and perceptions in turn simply cannot be reality.

If you are looking at creating a typology, then you have got to 'start thinking Baul', and

that in turn means you have to look beyond the atypical. There simply cannot be any

'parameter or specific solutions' because Baul beliefs also reject any hub and spoke

mode of thinking or analysis as also finality. The word 'boxed-in' is nonexistent in our

vocabulary. 'Out of the box' is more like it.

There are no "experiential spaces, connection and detachment of the functional

zoning, percentage of natural and built environment" - because the Baul experience is

individual and cannot be measured or quantified, and those experiences can and does

vary from person to person. There are no 'formalities' in becoming a Baul more than

dissolving from within and rejecting anything that is not attuned to nature, or even

the natural process. Yes, there are rites among Bauls but they are not stringent and it

is entirely up to an individual seeker whether she/he wants to go through the

exercise. We believe in rites that have relevance to nature, but reject meaningless

rituals.

To your questions now:

1. we know, there are some formal steps to join a Baul community, what do you feel

about them? can a person never join an akhra and still be in the path of self-finding ?

None whatsoever for Bauls are not a community, clan, sect, or even a mutual

admiration society. The closest you can perhaps get is we are a 'creed' - more

specifically a 'creed against greed' of any kind.

The word akhra evolved during the Fakir Sannyasi Rebellions in Bengal that lasted

from 1771 to 1802 and in effect means 'regiments' where Sadhus and Fakirs

converged for safety, for refuge, fighting two powerful enemies, namely British

colonizers and their lackeys the feudal Zamindars (landlords) who cut them off

community contributions that helped support them and their unconventional lifestyle.

It was a tokenistic fee that was paid as a 'service', but one they demanded was due to

the community for they were rendering a service that had intangible benefits i.e. the

development and growth of man. The oppressors put a stop to it, accusing them of

extortion and over 50 Saints was slaughtered overnight without any reason.

Bauls had to wait until 2005 for a UNESCO declaration that recognizes them and their

philosophy as "Masterpieces of Oral and Intangible Heritage of Humanity” and just not

Bangladesh.

In the good old days, formal entry to the Baul order was mainly to scrutinize newer

members wishing to join the fold, there will and resolve, and importantly to screen out

anybody's entrance for reasons dubious. Allegiance to Murshids or Gurus as such was

no different than an allegiance to a commander of a guerilla army. The Bauls were at

war and their pacifism was tested. Therefore, other than those who voluntarily desires

to go under the tutelage of a Shadhu Guru there are absolutely no compulsion to join

an akhra.

Bauliana is a journey and just about anybody can join in the exploration of the 'known

unknown'. This is not about being a hermit or exclusive. One doesn't have to go live

with animals in the jungles to 'find' anything, for the journey is internal and Bauls

believe whatever exists in the universe, also exist as a microcosm within the human

body. The Baul epigram amplies this belief.

2. the concept of mentor is very crucial in lalon shaiji's philosophy, at which point do you

need a mentor?

It all depends on indicators and exactly what your ultimate objectives are. The concept

and role of the Guru/Murshid is no different from your PhD supervisor. Only you

know when or whether at all you need him/her - for ultimately it is you who has to

earn the PhD.

I for one never had a Guru in the sense that I never surrendered to any doctrine of

primacy. I have been honored to have many Sadhu Gurus. Ma'arefoti's, Sanyasis,

Fakirs and Sahajiyas as my friends and that in turn meant I could differ with them

(and I still do). Aside the entire concept of Gurubaad is very patriarchal and as a

consequence abused in some cases, and hence I have stayed clear from the same.

Again a "Guru" doesn't necessarily have to be someone 'living'. For instance I have two

Guru's i.e. Fakir Lalon Shah and a female (and I am not in a position to divulge here

name) and both are not 'alive' - but that said they are not 'dead' as we normally believe

- for we never 'die' as such. There are ways to ‘connect’ to the Guru, and that in itself

is the teachings of Bauliana, no 'dark secret' but a discovery. And btw, Fakir Lalon

Shah never had a Guru. 'Shiraz Shai' was an allegorical reference to God, and

historically there are no records of any man by that name in existence anywhere

during the times of Lalon.

3. do you need to be under direct guidance/observation? or you can receive instruction

time to time?

Again open ended and subjective. Yes if you want to learn about breathing techniques,

it is safe to go to a Guru, just like if you are doing weight training at a gym, it is safe to

have an instructor by your side!

Kind regards and jOI gURU /\

Mac

Ps> If I were you, I would meditate on the epigram and hopefully work out an atypical

typology! Best of Luck

(7)

dearest Mac,

first of all..i can't thank you enough for your very informative mail...it helped me a

lot...and you don’t mind me mentioning parts in my paper with proper citation, do you?

thanks again for taking so much of your busy times on this..

i admit that my understanding towards Bauliana is still at the very basic level and

stuck up within only literature studying. And i understand that i might be representing

the urban class who have repeatedly mistreated the whole thing in the name of

research. i'll try to be more me and not how my tutors want me to think..i have no

intentions of disrespecting or misinterpreting Bauliana..i am here to learn..

however, i have found "not talking rather listening" more helpful and that way i've

always learnt more.. my intentions do not contradict with the general approach you

have towards Bauliana.. i think i would rather keep on asking you questions to absorb it

more..because designing is an ever changing process and it would be rather time-killing

discussing it, when maybe simply conversing maybe more helpful...and at the end we

can pick some of our key points of discussion still relevant to my topic and maybe work

out a interview for presentation..(strictly academic purpose i can assure you that)..

i have been very busy struggling with this..i am really sorry i couldn't reply within a civil

range of time..but i hope you're as available for carrying on this conversation..

i haven't come across anyone personally who knows the Fakir Lalon Shah'ji matter so

well and also happen to have good grip over english.. have you ever tried translating

any of his lyrics..?? I really need five translations so bad...and the first person popped

up in my mind i could ask for help was you...i know you're very busy with a number of

things at a time...still i am sharing the list of lyrics i need to be translated and not by a

noob..

। ।

। ।

। ।

। ।

। ।

..or i am thinking..if not translation, then maybe we can work up a text for each

lyrics...dissecting the meanings and moods of the songs...

i will send you the full lyrics as soon as i get a green from you...

cheers...

RKM

(8)

Thanks RKM, Unfortunately the Bangla font you have used is one that my laptop doesn't support, so can you be so kind as to use this link to transliterate http://supriyosen.net/write-bangla/google-bangla-transliterate/ the 5 lyrics of Shaiji you have mentioned in your mail - and copy paste? Alternatively, you can also type this in Roman Bangla! I have tried some translation of 5 of Shaijis works and they are available on the right hand column at this link http://bauliana.blogspot.com/. However you want to conduct your work please do feel free to ask, because no matter how busy I may be, I will try to find some time to answer your mail and queries. Maybe at a later date you may come over and record an interview which will give you more materials to 'probe' my mind! It is after all the work of Shaiji, and as a disciple, this is the least I can do. Take care and best of luck! Cheers

(9)

thanks a bunch, mac...you're such a sweetheart. here's the list again with google trasliterate.

1. . (emon manob jonom ar ki hobe)

.

2. (miyarajer kotha shudhai kare)

3. (age kopat maro kamer ghore)

4. (bujhbi re gourpremer kale amar

moto pran kandile)

5. (sai amar kokhon khele kon khela)

i have also attached you the word file with full lyrics...please take a look. i have used Shonar Bangla.ttf font..and had the font embed in the file so you shouldnt have a problem this time..i will get back to you as soon as i get done with preparing texts for starters.

RKM

(10)

Dear RKM, thanks for sending in the lyrics and the word doc, both are visible now!

I will take a little time to translate the stuff as have to dwell on the tottyo before it

makes sense in English. Lyric # 4 is a bit iffy as it is in Gouro Leela in the Pancha

Leela category of Shaijis pod/kalams.

Cheers

(11)

meanwhile...could you tell me what this poncho leela is about..?? is it something to do

with the five riches in human body described by shaiji.. , , , ,

..?? is there a link on your blog i can read from..??

thank you so much..

much love

RKM

(12)

no they are not. the fakirs study lalon shaiji'sover 1200 work known to be in

circulation under the following regime:

Tritottyobaad: 1. Noor Tottyo 2. Nobi Tottyo 3. Rasool Tottyo

Poncho Leela 4. Krishono Leela 5. Goushtho Leela 6. Nimai Leela 7. Gouro Leela 8.

Nitai Leela

Chotur Desh 9. Sthulo Desh 10. Proborto Desh 11. Shadhok Desh 12 Siddhi Desh

Its an informal curriculum to track authenticity of the kalaam/pod's in question, and

has nothing to do with either deho or mono tottyo.

cheers

(13)

dear Mac,

how are you..? i hope this mail doesn't appear as a push from me..i just had something

to ask...

firstly.. i made a change in the list of songs.. for the fifth one i picked "jogot mukti te

bholalen shai" after reading the whole lyric and the translation from your blog.. i think it

fits more accordingly to what i'm looking for...

secondly..could you tell me about the mood of the song 4 and 5 (jogot mukti te)..??? i

have a very hazy idea about how i am going to interpret contemplative spaces inspired

from the lyrics and i can't do it if i can't get deep in to it..

..again, this is not to rush you in anyway..but would you share your progress with

me..?? i am making a simple booklet of my concept behind the whole project so that

anyone can easily relate..and i need you to prepare me a text in english for each songs

to describe the bhab of the songs...i just dont know how to ask since you've already

admitted to do so much i never expected..

you are the man.

i think i need to see you soon, too...and talk about the work we're doing..

best,

RKM

(14)

Dear RKM,

Thank you for your mail. I am not sure if you mean you are dropping 'shai amar

kokhon khele kon 'khela' and replacing the same with 'jogot mukti te'?

As far as the mood of the song is concerned it is under 'proborto desh' category -

which is ahead of 'sthulo desh' yet below 'shadhok desh' and 'siddhi desh'. Essentially

these are 4 Desh (stations) are the culmination of Lalon patthyokrom (syllabi) that

ultimately leads to 'siddhi' or awakening (not to be confused with nirvana).

Under branch of 'siddhi desh' Lalon sHaiji no longer mentions Shiraj Shai - as he had

reached siddhi (or siddho purush) - yet restrain himself and stops short from calling

or be called 'darbesh' - which is essentially the highest known level of awakening in

Bangla bhaabad - equal to wilayet or kamliyet in Ilm-e' Tasawuf (commonly Sufism).

The word 'Mukti' has many implications in Bauliana. Overtly it could be called

'freedom' which I have used, yet covertly the underlying meaning is 'liberation' and

that in turn is no different than what western constructs of liberation are - yet with a

slight difference.

Liberation in the western construct means being free from social bondages,

restrictions and anything considered deviant to mankind’s will to live life on ones term

or own choosing. It not only means the freedom to aspire for economic freedom, but

also more complex issues like sexual orientation, choices and domains where

'creatures of this Universe can roam free'.

The difference here is 'liberation' in context of Bengal perhaps takes cognizance of the

above, yet believes it’s an individual quest that needs to be addressed before society

can or may be involved. It gets real tricky here, because liberation as far as Bauliana

is concerned means to strip ourselves off whatever is binding; materialistic or has

attachment to society. It is in shedding off both maya (want/yearning) and moho (lust)

- no easy job.

How to go about this hard business can only be explained and taught by the Shamyek

gURU - who is a ‘representative of gOD’ - yet stakes no claim to it for obvious reasons!

In a world of imperfection getting a perfect gURU is the bAUL aspiration - cause it is

only in unconditional surrender to him that devotion to gOD is typified. Else we are

left with the mollah driven 'namaz/salat' calisthenics where we 'surrender

unconditionally' for a few minutes of the day to a 'gOD' we have no clue about -then go

about our own business of being individualistic and materialistic with no qualms

whatsoever. Bauls believe even in surrender, one needs supervision.

Human exploitation can only end when we strip ourselves of the biggest vice - ego. If

you look at the last stanzas and the words "I am not worthy of your blessed feet', or

the more touching 'yet my soul yearns that I touch your lotus feet' is demonstrative of

how far Fakir Lalon dissolved in his surrender to the gURU, the maker of all mankind.

The Bhakti tradition has always strived at prostration at the feet of the gURU more

than an 'unseen, imaginary gOD' - for quite simply when all living creatures were

ordered asked to prostrate to Adam - the one that didn’t (Iblis) wasn't 'human' :) So the

first step at liberation is to prostrate to a gURU as a sign of stripping one's ego – a

forceful rejection of ‘khannas’. I have done that so many times, and it has been done

to me so many times - that I can still recall the faces of my relatives who inadvertently

witnessed the phenomenon and screamed ‘shirek’ ! However the most poignant bhakti

is the one I offer to my partner and my nine month old daughter before I set out on a

tirtho (pilgrimage) - the last was in May.

Last if not the least….when Lord Buddha 'attained' Nirvana as they call it, he actually

attained nothing. His eureka statement was... 'it has left me, it has left me' - so

whatever remained in the man Buddha had absolutely a void that could only be filled

by a superior being - lets call it a supra consciousness – and that consciousness is

well within human reach.

Hope this helps and call sometimes.

Joi Guru /\

(15)

helped big time..thanks again..

and what about the lyric no. 4...?? i chose this one because i heard a song.. i dont think

it was a baul song but a baishnab or of some other genre..i'm not sure.. it had the lines "

chhere gele shonar gour ar to pabo na" it amazed me when i heard it...

i have randomly picked 5 songs that i thought would represent what i have understood

by gyan, bibek, shonngjom, boiragyo, bhakti that are said to be the five riches in one of

lalon shai'ji's song- shohore sholojona bombaytey...i have thought of a meditative

journey to reveal certain stages of human consciousness..for which you gave me a

wonderful word..awakening..

i had been constantly posed with the question-what are these five riches..if virtues, or

states of mind..and if at all to be appeared sequentially..i have been referencing the

concept of bhakti from baishnab perspective where the devotees connect themselves to

the Greater Power at the end of six stages of praying/ meditating..but is there really a

sequence..?? if you know, please let me know..

off to class now, will get back to you soon...

good day,

RKM,

(16)

if by song 4 you mean - it is from Lalon

Shaiji under the Gouro Leela category.

I think nothing happens in bhabaad on any prescribed sequential format unless you

are under the strict tutelage of a Shadu Guru. I think it all goes beyond the sphere of

science and may well fall within the domains of para-psychology.

As for the 'five riches' you mention, to be entirely honest I have never heard about this

before. It could well have come from any book or a Sadhu that you may/might have

been following and I am in no way implying that it is wrong. I think it’s a simpler way

of looking at the Pancha Leela which I explained in an earlier mail.

I am really sorry that I have not been able to make much headway into translating the

lyrics you sent. First I had to check their authenticity - that went like a breeze, all are

from Shaiji; yet there appears to be a lot of errors in the words/expressions which I

have to cross check with several other references and the process is ongoing.

I am having Fakir Abdus Sattar over on the 15th evening from Seuria. He will be

staying with me for two nights in connection with his recorded recital at Bangla Vision

on 16th June. As far as I have gathered Sattar is an authority on authenticity of

Lalons pod/kalaam so I intend to re-check with him, before I get to the hard job of

translating.

(17)

dearest Mac...

How nice of you..!!

we usually have scheduled graded reviews on sundays which take two studio classes

in a row to get packed up..hectic..:/ but i'll definitely try to come over... :)

and for the source of the "five riches"... i thoroughly followed the lead of the book

"Lalonshomogro" by Dr. Abul Ahsan Chowdhury..and read many books after that

referenced from that book on the topic.. the lyrics i sent you were from that book... i will

send you a copy if you'd like..it's considered the latest and largest compilation work of

Shai'ji's works and discussions of him with convincing authenticity. the reason i'm telling

you to go through the book is because despite all the unnecessary discussions over

Fakir Lalon Shah's religious origin, it's a book people are considering a keepsake and a

research read on the topic and you can have your own opinion on the thing that is being

circulated largely...

i am attaching you the song.."shohorey sholojona bombaytey" by Fakir Lalon

Shah...take a look..also from the book.."lalonshomogro"

best,

RKM.

(18)

Dear RKM,

With all due respects, I am no 'fan' of Dr.A.A.C for quite simply likes of us who work

for Shaiji in the city, or the ones that comes from the villages to Dhaka to hang out

with us, are as far as he is concerned ‘are all frauds' !

I have read some of his stuff and heard him on TV interviews etc., but my domain of

work is unfortunately not that with academics - but with grass root level Shadhus and

Fakirs. The songs he quotes are basically from Fakir Montu Shah and recent inquiries

in the field have already identified a series of errors that have cropped up - as also

attributing works of Panju Shah Etc and others as that of Shaiji.

When I make corrections and send them across, you will perhaps be able to spot the

differences for yourself.

And forgive me if I am sounding puritanical, but most unfortunately the legacy of

Shaiji is an oral tradition and if at all we are willing to do justice to his work, the only

way I know of is to move away from the ivory tower of intellectuals and rely on the

practices of the unlettered 'rural intellectual elite' who have traditionally been the

custodian of Shaijis work and practices.