লালনগীতি চিরদিন পুষলাম এক I BENGALI FOLK SONG I LALON SONG I BENGALI QAWWALI I DIVINE SONG I BAUL

Описание: লালনগীতি - চিরদিন পুষলাম এক অচিন পাখি (কিরন চন্দ্র রায়)

চিরদিন পুষলাম এক অচিন পাখি
ভেদ-পরিচয় দেয় না আমায় ঐ খেদে ঝরে আঁখি।।
পাখি বুলি বলে শুনতে পাই রূপ কেমন দেখিনা ভাই
বিষম ঘোর দেখি।
চেনাল পেলে চিনে নিতাম যেতো মনের ধুকধুকি।।
পোষা পাখি চিনলাম না এ লজ্জা তো যাবে না উপায় কি করি!
কোন দিন জানি যাবে উড়ে ধুলো দিয়ে দুই চোখই।।
নয় দরজা খাঁচাতে যায় আসে পাখি কোন পথে
চোখে দিয়ে রে ভেল্কি।
সিরাজ সাঁই কয় বয় লালন বয় ফাঁদ পেতে ঐ সিঁদমুখী।।

Lyrics: Fakir Lalon Shah
Singer: Kiron Chandra Roy
Hi everyone!
Hope you all are doing well. Gurur choron presents you a Educational video song, Here is many educational song. If you want to know yourself then please listen and try to understand our song. If you create yourself then you read creator and when you read creator then you’re a part of creator. So enjoy this song and subscribe GURUR CHORON    / @gururchoron-bh9hv  

KIRAN CHANDRA ROY
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Baul virtuoso Kiran Chandra Roy won the National Award in 1997 as the best playback singer and the BACHSAS Best Singer Award. He also won 2nd place among 88 contestants in the International Folk Festival held in China. Kiran Chandra's grounding in music took place at home. He later took formal lessons with Khandakar Nurul Alam. Proficient in Raga-based music, Kiran Chandra won acclaim for his memorable renditions of Baul Gan.

LALON FAKIR
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Lalon, also known as Lalon Sain, Lalon Shah, Lalon Fakir or Mahatma Lalon (1772 – 17 October 1890; Bengali: 1 Kartik, 1179), was a Bengali Baul saint, mystic, songwriter, social reformer and thinker. Considered an archetypal icon of Bengali culture, Lalon inspired and influenced many poets, social and religious thinkers including Rabindranath Tagore, Kazi Nazrul Islam, and Allen Ginsberg albeit he "rejected all distinctions of caste and creed".


Philosophy
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Lalon was against religious conflict and many of his songs mock identity politics that divide communities and generate violence. He even rejected nationalism at the apex of the anti-colonial nationalist movements in the Indian subcontinent. He did not believe in classes or castes, the fragmented, hierarchical society, and took a stand against racism. Lalon does not fit the "mystical" or "spiritual" type who denies all worldly affairs in search of the soul: he embodies the socially transformative role of sub-continental bhakti and sufism. He believed in the power of music to alter the intellectual and emotional state in order to be able to understand and appreciate life itself.

The texts of his songs engage in philosophical discourses of Bengal, continuing Tantric traditions of the Indian subcontinent, particularly Nepal, Bengal and the Gangetic plains. He appropriated various philosophical positions emanating from Hindu, Jainist, Buddhist and Islamic traditions, developing them into a coherent discourse without falling into eclecticism or syncretism. He explicitly identified himself with the Nadiya school, with Advaita Acharya, Nityananda and Chaitanya. He was greatly influenced by the social movement initiated by Chaitanya against differences of caste, creed and religion. His songs reject any absolute standard of right and wrong and show the triviality of any attempt to divide people whether materially or spiritually.