The timeless music and humanist philosophy of Baul maestro Fakir Lalon Shah took centre stage at a commemorative programme marking the 136th anniversary of his death, as folk singers celebrated his enduring legacy and the absence of acclaimed vocalist Farida Parveen was keenly felt.

Held on Saturday, 17 October, at the National Theatre Hall of Bangladesh Shilpakala Academy in Dhaka, the programme brought together folk musicians from different generations to perform Lalon’s celebrated compositions. Alongside the music, discussions highlighted his message of equality, freedom of belief and respect for human dignity. Yet the occasion also carried a sense of loss, with Parveen, widely known as the ‘Daughter of Lalon’, missing from a gathering devoted to the songs she had helped popularise.

Organised by Bangladesh Shilpakala Academy under the patronage of the Ministry of Cultural Affairs, the event began with a discussion session at around 6.30pm before moving into a series of musical performances. The singers brought Lalon’s compositions to life, creating an atmosphere shaped by spiritual reflection, nostalgia and a shared appreciation of Bengal’s rich folk tradition.

Lalon’s philosophy of equality and human dignity

Speaking at the event, State Minister for Cultural Affairs Ali Newaz Mahmud Khaiyam stressed the importance of equality, freedom of belief and freedom of expression. Referring to the mob killing of a man in Satkhira over his religious beliefs, he urged people to embrace Lalon’s humanist philosophy and recognise the dignity of every individual.

Lalon’s songs have long challenged divisions rooted in caste, religious identity and social status. His work encourages people to look beyond outward differences and reflect on the values that unite humanity. The minister’s remarks brought renewed attention to these principles, particularly in a social climate where intolerance and violence associated with differences in belief remain serious concerns.

The discussion was chaired by Md Harun-or-Rashid, director-general of Bangladesh Shilpakala Academy, who was serving in an additional capacity. Other speakers included Cultural Affairs Secretary Yasmin Begum; artist and researcher Professor Dr Ahmed Shakil Hasmi, the keynote speaker; BNP cultural affairs secretary Ashraf Uddin Ahmed Ujjal; and Jatiyatabadi Samajik Sanskritik Sangstha (JASAS) member-secretary Zakir Hossain Rokon.

The speakers highlighted the cultural importance of Lalon’s music and the need to keep his ideas alive among younger generations. His compositions are not merely part of Bengal’s folk heritage; they also offer a distinctive perspective on human relationships, spiritual identity and the limitations of social divisions.

Folk singers bring Lalon’s timeless songs to the stage

The musical programme began with folk singer Latif Shah performing ‘Doinno Gaan’. His association with Lalon’s music also extends to cinema. His voice was used for Lalon’s songs in Gautam Ghose’s 2010 film Moner Manush, in which Indian actor Prosenjit Chatterjee portrayed the mystic poet.

Nasrin Sultana Beauty followed with ‘Krishna Preme Pora Deho’, while Aleya Begum performed several other compositions by Lalon. Biman Chandra Biswas captivated the audience with ‘Ami Opar Hoye Boshe Achhi’, and Mousumi Iqbal performed ‘Helay Helay Din Boye Jay’.

Veteran folk singer Kangalini Sufia presented ‘Dekha Diyeo He Rasul’, bringing her distinctive voice and experience to the programme. Kaniz Khandaker Mitu subsequently sang ‘Ghore Ke Ba Jage Ke Ba Ghumay’.

Other performers included Suman Roy, Pakhi Bauliana and Sultana Jaman Jochhona. Their interpretations reflected the different dimensions of Lalon’s music, from spiritual contemplation and the search for self-knowledge to the emotional depth of human relationships.

The performances demonstrated why Lalon’s songs continue to appeal to listeners across generations. Their language is often simple, but the ideas they express are profound. Questions about identity, the meaning of life and the relationship between the individual and the wider world run through his compositions, giving them a relevance that extends beyond their historical and cultural origins.

Farida Parveen’s absence highlights her lasting contribution

One of the most poignant aspects of the gathering was the absence of Farida Parveen, the celebrated singer whose interpretations of Lalon’s compositions earned her the affectionate titles ‘Daughter of Lalon’ and ‘Empress of Lalon’.

Parveen played a significant role in bringing Lalon’s music to a wider audience. Through her distinctive voice and expressive style, she helped introduce the philosophical depth of his songs to listeners beyond the traditional Baul music community. Her performances brought the lyrics into sharper focus, allowing audiences to appreciate not only their musical beauty but also their reflections on humanity, spirituality and self-discovery.

Baul music has traditionally been transmitted through generations of practitioners, singers and disciples. Artists who interpret these compositions for broader audiences help ensure that the tradition remains part of contemporary cultural life. Parveen’s contribution was particularly significant in this respect, as she helped establish Lalon’s songs within a wider musical landscape while retaining their distinctive character.

Her absence at the commemorative programme therefore carried significance beyond the loss of an individual performer. It recalled the contribution of an artist whose work had become closely associated with the public appreciation of Lalon’s musical legacy.

As other singers took to the stage to interpret his compositions, Parveen’s influence remained an important part of the occasion. Her legacy illustrates how individual artists can shape the way a cultural tradition is understood, preserved and passed on to future generations.

Closing performances return to Lalon’s spiritual vision

The final segment featured vocalists from Bangladesh Shilpakala Academy performing ‘Dhonnno Dhonnno Boli Tare’, ‘Amar Ghor Khanay Ke Biraj Kore’ and ‘Milon Hobe Koto Dine’.

The songs brought the programme back to the central themes of Lalon’s philosophy: love for humanity, the search for inner truth and the longing for spiritual fulfilment. Their inclusion in the closing performances offered a fitting reminder of the ideas that continue to sustain his influence.

Lalon Shah occupies a distinctive place in Bengal’s cultural history. His compositions draw on the Baul tradition while questioning rigid social hierarchies and encouraging people to look beyond divisions of caste, religion and status. His songs explore the relationship between outward identity and inner truth, inviting listeners to reflect on their own lives and their responsibilities towards others.

His work also forms part of a broader cultural tradition in which music serves as a means of questioning social conventions and exploring spiritual ideas. Rather than relying on elaborate language, Lalon often conveyed complex reflections through accessible lyrics and memorable melodies. This combination has helped his music endure across generations.

The Dhaka programme was therefore more than a tribute to a revered mystic and composer. It also provided an opportunity to reflect on the continuing importance of tolerance, freedom of belief, mutual respect and equal human dignity.

While Farida Parveen’s absence served as a poignant reminder of her contribution to Bengali folk music, the performances reaffirmed the enduring relevance of Lalon’s work. His songs continue to encourage people to look beyond divisions, question inherited prejudices and recognise the humanity they share.

Through the voices of contemporary performers, Lalon’s message of equality and compassion found renewed expression, demonstrating that his music remains an essential part of Bengal’s cultural inheritance.