tag:blogger.com,1999:blog-105763922024-02-28T23:09:45.138+06:00Bauliana - Worshiping the Great God in Man বাউলিয়ানা - মানবে স্রষ্টার আরাধনা Site authored/edited and moderated by the Bangladesh based anti-establishment jazz-rock-fusion musician Maqsoodul Haque (Mac) in his continued research into the Bauls of Bengal, and connecting it to the universal quest for salvation from despair, a quest into the inner unfathomable depths of the complex creature called mAN? Bauliana was released as a book in Bangladesh on the 4th June 2007
To contact Mac: machaque@gmail.com
Jah Bauliana /\Mac Haquehttp://www.blogger.com/profile/14042188545433901143noreply@blogger.comBlogger104125tag:blogger.com,1999:blog-10576392.post-36841848041041359832020-04-28T10:15:00.000+06:002020-04-28T10:22:23.176+06:00সিয়াম সাধনার গোপন কথা ও আমাদের পেটুক ভ্রষ্টাচার / পর্ব ২<div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="s2">(</span><span class="s1" style="font-family: KohinoorBangla-Regular;">২০১৩</span><span class="s2">-</span><span class="s1" style="font-family: KohinoorBangla-Regular;">র</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মূল</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ইংরেজি</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">লেখার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বঙ্গানুবাদ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">করেছেন</span><span class="s2"> Zahed Ahmed)</span></div>
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<span class="s2">‘</span><span class="s1" style="font-family: KohinoorBangla-Regular;">রামাদান</span><span class="s2">’ </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">রমজান</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মাসেই</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নবি</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মুহাম্মদ</span><span class="s2"> (</span><span class="s1" style="font-family: KohinoorBangla-Regular;">সা</span><span class="s2">.)-</span><span class="s1" style="font-family: KohinoorBangla-Regular;">এর</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নিকট</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কোরান</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অবতীর্ণ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হয়েছিল।</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">যদিও</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কোরান</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নাজেলের</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">সময়</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হেরা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পর্বতের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নির্জন</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">গুহায়</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নবিজির</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">তপস্যা</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ধ্যান</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ও</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ধৈর্য </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কৃচ্ছতার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ব্যাপারে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আমরা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অতি</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অল্পই</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">জানি</span><span class="s2">; </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কিন্তু</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">আন্দাজ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">করতে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পারি</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">যে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এইভাবে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সংযম</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সোয়মের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অনুশীলন</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">শুরু</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হয়েছিল</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আজ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">থেকে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">প্রায়</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পনেরোশ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বছর</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">আগে</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এবং</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এটা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হচ্ছে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আরব </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অঞ্চলের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সেই</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মরুভূমির</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">রুক্ষ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পাথুরে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">গরমে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অসহনীয়</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আবহাওয়ায়</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হেরাপার্বত্য</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">গুহার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নির্জনতায়</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নবি</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মুহম্মদের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কঠোর</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কৃচ্ছসাধনার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সামান্য</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নজির</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মাত্র</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সম্পূর্ণ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সংযমচিত্র</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নয়।</span></div>
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<span class="s1" style="font-family: KohinoorBangla-Regular;">আল্লাহর</span><span class="s2"> ‘</span><span class="s1" style="font-family: KohinoorBangla-Regular;">ওহি</span><span class="s2">’ </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বাণী</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অবতরণকালে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ফেরেশতা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">জিব্রাইল</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নবিজির</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নিকটে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এসে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">তাঁকে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নিয়মিত</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">প্রস্তুত</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">করছিলেন</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">যেন</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পরম</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">স্রষ্টা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ও</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পালনকর্তার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বাণী</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">তিনি</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বিন্যাস্তরূপে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">গ্রহণ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">করতে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পারেন</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এবং</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">স্রষ্টার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কথাসমগ্র</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">প্রচার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">করেন</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">কুলমখলুকাতের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কল্যাণকল্পে</span><span class="s1" style="font-family: KohinoorBangla-Regular;">এই</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কথামালা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আদৌ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">শুধু</span><span class="s2"> ‘</span><span class="s1" style="font-family: KohinoorBangla-Regular;">মুসলিম</span><span class="s2">’ </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নির্দিষ্ট</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কোনো</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ধর্মগোষ্ঠীর</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">জন্যই</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নিবেদিত</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">তা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নয়</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এই</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নির্দেশনামালা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ও</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বাণীমঞ্জরি</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সমগ্র</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মানবজাতির</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">উদ্দেশ্যে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বলা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আল্লাহর</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বার্তা।</span><span class="s2"> </span></div>
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<span class="s1" style="font-family: KohinoorBangla-Regular;">তবে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ধ্যান</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সাধনার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অন্যতম</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পূর্বশর্ত</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">উপবাস</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">রোজা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মোটেও</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নতুন</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কিছু</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নয়</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এমনও</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নয়</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">যে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ইসলামের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আগে</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">এর</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">প্রচলন</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ছিল</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">না।</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আদিকাল</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">থেকে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">একেশ্বরবাদী</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নবি</span><span class="s2">-</span><span class="s1" style="font-family: KohinoorBangla-Regular;">রসুল</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সকলেরই</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সাধনার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ক্ষেত্রে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">উপবাস</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">রোজা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কার্যকর</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">দেখা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">যায়</span><span class="s2">; </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ইব্রাহিম</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মুসা</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ইসা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ছাড়াও</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">উনাদের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অনুসারী</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পয়গম্বর</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ও</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সর্বসাধারণের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">জন্য</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কতিপয়</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নিয়মের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ভিত্তিতে</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">উপবাস</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">করা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ধার্য</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ছিল</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এবং</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সবই</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ছিল</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সাধনভজনের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নিমিত্তে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কৃচ্ছতার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অংশ </span><span class="s1" style="font-family: KohinoorBangla-Regular;">যুগে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">যুগে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নবি </span><span class="s1" style="font-family: KohinoorBangla-Regular;">রসুলদের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মাধ্যমে</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">প্রচারিত</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বাণীর</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বিভিন্নতা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">থাকলেও</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">উপাসনার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অংশ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হিসেবে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সংযমসাধনা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">তথা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">উপবাসের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">চর্চা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ছিল</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অভিন্ন।</span></div>
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<span class="s1" style="font-family: KohinoorBangla-Regular;">প্রশ্ন</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">জাগে</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কেন</span><span class="s2">? </span></div>
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<span class="s1" style="font-family: KohinoorBangla-Regular;">স্রষ্টা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">তথা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আল্লাহ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ঈশ্বর</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বা</span><span class="s2"> ‘</span><span class="s1" style="font-family: KohinoorBangla-Regular;">গড</span><span class="s2">’ </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নামের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">একটি</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অদৃশ্য</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নির্দিষ্ট</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অস্তিত্বকে</span><span class="s2"> ‘</span><span class="s1" style="font-family: KohinoorBangla-Regular;">সন্তুষ্ট</span><span class="s2">’ </span><span class="s1" style="font-family: KohinoorBangla-Regular;">করতে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">একদল</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মানব </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মানবী</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">নিজেদেরকে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অভুক্ত</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">রেখে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কেন</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কঠোর</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কৃচ্ছতা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পালনের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পথ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অনুসরণ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">করে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আসছে</span><span class="s2">? </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সেইসঙ্গে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এই</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">প্রশ্নও</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ওঠে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">যে</span><span class="s2">‘</span><span class="s1" style="font-family: KohinoorBangla-Regular;">আল্লাহর</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সন্তুষ্টি</span><span class="s2">’ </span><span class="s1" style="font-family: KohinoorBangla-Regular;">লাভের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">জন্যে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">যে </span><span class="s1" style="font-family: KohinoorBangla-Regular;">রোজা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">উপোস</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এর</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ফলে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বান্দাদের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">তথা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আমাদের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সরাসরি</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সুফল</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মিলছে</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">কোথায়</span><span class="s2">? </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আরও</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">প্রশ্ন</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ওঠে</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">একমাসের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এই</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">দীর্ঘ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">রোজা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পালনের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পর</span><span class="s2"> ‘</span><span class="s1" style="font-family: KohinoorBangla-Regular;">আল্লাহ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সন্তুষ্ট</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হয়েছেন</span><span class="s2">’ </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কি</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">না</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">তার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কোনো</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">প্রমাণ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কি</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আমরা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পাই</span><span class="s2">?</span></div>
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<span class="s1" style="font-family: KohinoorBangla-Regular;">প্রত্যক্ষ</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পরোক্ষ</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">উক্ত </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অনুক্ত</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">উত্তরের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আশায়</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আমরা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নানাবিধ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ধর্মগ্রন্থ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পর্যালোচনা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">না</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">করেও</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ধর্মীয়</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কিতাব </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কালামের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কথানিহিত</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">রূপক </span><span class="s1" style="font-family: KohinoorBangla-Regular;">প্রতীকের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">দ্যোতনা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পাঠান্তরের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">জন্য</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">গলদঘর্ম</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">না</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হয়েও</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সংলগ্ন</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">দূরবর্তী</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হুজুর </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পিরসাহেবদের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নিকট</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">দৌড়ঝাঁপ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">না</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">করেও</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">শধু</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">যদি</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নিজেদের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সাধারণ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ধ্যানধারণা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কাণ্ডজ্ঞানটাকে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ঠিকঠাকভাবে</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">আমরা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কাজে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">লাগাই</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নিশ্চয়</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">একটা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কার্যকর</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">উত্তর</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পেয়ে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">যাই</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কিছুমাত্র</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সচেষ্ট</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হলে </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এই</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কাজটা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">করার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সময়</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বিভ্রান্তি</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">লাঘবের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আশায়</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">উত্তর</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">তালাশের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সময়</span><span class="s2">,‘</span><span class="s1" style="font-family: KohinoorBangla-Regular;">আল্লাহর</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সন্তুষ্টি</span><span class="s2">’ </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অর্জনের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ধারণাটার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মধ্যে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">যে</span><span class="s2">-</span><span class="s1" style="font-family: KohinoorBangla-Regular;">ভ্রান্তি</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আছে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">তা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আগে</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">লাঘবের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">জন্য</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সচেষ্ট</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হওয়া</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আবশ্যক।</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এইভাবে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এগোলে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">যে </span><span class="s1" style="font-family: KohinoorBangla-Regular;">উত্তরমালা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আমাদের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হাতে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আসবে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">তা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হবে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অনেক</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বেশি</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">মানবিক</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ও</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মানবীয়</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কল্যাণগুণসম্পন্ন।</span></div>
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<span class="s1" style="font-family: KohinoorBangla-Regular;">যেহেতু</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কোরান</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অবতীর্ণ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হয়েছিল</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মানবজাতির</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কল্যাণসাধন</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ও</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">করণীয়</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সম্পর্কে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নির্দেশনা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">জ্ঞাপনের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">উদ্দেশ্যে</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">যেখানে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মানুষের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মঙ্গলের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">উপরেই</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নিশ্চিতভাবে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">জোরারোপ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">করা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আছে</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বলা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হয়েছে</span><span class="s2"> ‘</span><span class="s1" style="font-family: KohinoorBangla-Regular;">আশরাফুল</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মখলুকাত</span><span class="s2">’ </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">যার</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">কাছাকাছি</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অর্থ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হয়</span><span class="s2"> ‘</span><span class="s1" style="font-family: KohinoorBangla-Regular;">স্রষ্টার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সেরা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সৃষ্টি</span><span class="s2">’ </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এবং</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">তাদেরই</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কল্যাণকল্পে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এই</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">গ্রন্থের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সমস্ত</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কথামালা </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এমন</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">যদি</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হতো</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">যে</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">এই</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পবিত্র</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">গ্রন্থের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কেন্দ্রে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মানবকল্যাণ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">থাকত</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">না</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">তাহলে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কেমন</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হতো</span><span class="s2">? </span></div>
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<span class="s1" style="font-family: KohinoorBangla-Regular;">যদি</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মানবকল্যাণের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ধারণাটা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কোরানের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কেন্দ্রীয়</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কথা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">না </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ও</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হতো</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">তখনও</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">তারপরও</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অন্তত</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">তিনটি</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বিশেষ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ক্ষমতা</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">বা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ক্রাইটেরিয়া</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">থাকত</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">স্বয়ং</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">স্রষ্টার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হাতে</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">যে </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ত্রয়ী</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আমাদের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অস্তিত্বের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">তিন</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">প্রধান</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ও</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">জরুরি</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নিয়ামক</span><span class="s2">| </span></div>
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<span class="s1" style="font-family: KohinoorBangla-Regular;">এই</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">তিনটাই</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নিঃসন্দেহে</span><span class="s2"> ‘</span><span class="s1" style="font-family: KohinoorBangla-Regular;">অ্যাক্টস্</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অফ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">গড</span><span class="s2">’; </span><span class="s1" style="font-family: KohinoorBangla-Regular;">যথাক্রমে</span><span class="s2"> — <span class="Apple-converted-space"> </span></span><span class="s1" style="font-family: KohinoorBangla-Regular;">জন্ম</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">তথা</span><span class="s2"> ‘</span><span class="s1" style="font-family: KohinoorBangla-Regular;">হায়াত</span><span class="s2">’ </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আয়ু</span><span class="s2">, ‘</span><span class="s1" style="font-family: KohinoorBangla-Regular;">মউত</span><span class="s2">’ </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মৃত্যু</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এবং</span><span class="s2">‘</span><span class="s1" style="font-family: KohinoorBangla-Regular;">রিজিক</span><span class="s2">’ </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">জীবিকা।</span><span class="s2"> </span></div>
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<b><i><span class="s1" style="font-family: KohinoorBangla-Regular;">চলবে</span><span class="s2">.......</span></i></b></div>
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Mac Haquehttp://www.blogger.com/profile/14042188545433901143noreply@blogger.com0tag:blogger.com,1999:blog-10576392.post-23039848560880576692020-04-28T10:06:00.000+06:002020-04-28T10:12:17.446+06:00সিয়াম সাধনার গোপন কথা ও আমাদের পেটুক ভ্রষ্টাচার / পর্ব ১<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><span class="s1" style="font-family: KohinoorBangla-Regular;">মাকসুদুল</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হক</span><span class="s2"> </span></b></div>
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<span class="s2">(</span><span class="s1" style="font-family: KohinoorBangla-Regular;">২০১৩র</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মূল</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ইংরেজি</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">লেখার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বঙ্গানুবাদ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">করেছেন</span><span class="s2"> Zahed Ahmed) </span></div>
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<span class="s1" style="font-family: KohinoorBangla-Regular;">যা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">জানো</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">না</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">তা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">স্বীকার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">করো</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">তোমার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">জানা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নিয়া</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">তুমি</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বিনয়ী</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হও</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">তুমি</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আজকে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">যা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">জানলে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">তা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ধারণ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">করো</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সবসময়</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">যে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সচেষ্ট</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ও</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সত্যনিষ্ঠ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সে</span><span class="s2">-</span><span class="s1" style="font-family: KohinoorBangla-Regular;">ই</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">তোমার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">জন্য</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">শ্রেষ্ঠ</span></blockquote>
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<span class="s1" style="font-family: KohinoorBangla-Regular;">রামাদান</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">রমজান</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হচ্ছে</span><span class="s2"> ‘</span><span class="s1" style="font-family: KohinoorBangla-Regular;">সোয়ম</span><span class="s2">’ </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পালনের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মাস</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বাংলায়</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আমরা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বলি</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সিয়াম</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সাধনার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মাস</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">যখন</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মাসব্যাপী</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">সংযম</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">রক্ষার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ঐশী</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নির্দেশ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">রয়েছে </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অনেকেই</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আমরা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আহ্নিক</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মেনে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">উপবাস</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">করি</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">খাদ্যগ্রহণ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">থেকে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বিরত</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">থাকি</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">।</span></div>
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<span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">দীর্ঘ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">উপোস</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">করার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ব্যাপারটা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">চৌদ্দ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ঘণ্টা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">তারও</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বেশি</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হয়ে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">থাকে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">যেটা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নির্ভর</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">করে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বিশ্বের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কোন</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">গোলার্ধে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আপনি</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">বাস</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">করছেন</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">তার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ওপর</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এবং</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বেশিরভাগ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মুসলিমের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কাছে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এই</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">উপবাস</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">থাকাটাই</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সিয়াম</span><span class="s2">/</span><span class="s1" style="font-family: KohinoorBangla-Regular;">সোয়ম</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হিশেবে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">গ্রাহ্য।</span><span class="s2"> </span></div>
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<span class="s1" style="font-family: KohinoorBangla-Regular;">উপবাস</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বা</span><span class="s2"> ‘</span><span class="s1" style="font-family: KohinoorBangla-Regular;">রোজা</span><span class="s2">’ </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পালনের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পাশাপাশি</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সালাত</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নামাজ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ও</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অন্যান্য</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অনেক</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">উপাসনা</span><span class="s2">-</span><span class="s1" style="font-family: KohinoorBangla-Regular;">আরাধনার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মাধ্যমে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আমরা</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">আল্লাহর</span><span class="s2"> ‘</span><span class="s1" style="font-family: KohinoorBangla-Regular;">সন্তুষ্টি</span><span class="s2">’ </span><span class="s1" style="font-family: KohinoorBangla-Regular;">লাভের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">চেষ্টা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">করে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">থাকি</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এবং</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সৃষ্টিকর্তা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আল্লাহ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আমাদের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">উপর</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">করুণা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ও</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কৃপা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বর্ষণ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">করেন</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বলেই</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">বিশ্বাস</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">করি।</span></div>
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<span class="s1" style="font-family: KohinoorBangla-Regular;">কাজেই</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">উপবাস</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">করা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ছাড়াও</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">রোজার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">দিনের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পালনীয়</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আচারকৃত্যের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">তালিকা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অনেক</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">দীর্ঘ।</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ভোরের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আগে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">জেগে</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">উঠে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সেহরি</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">দিনে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পাঁচ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ওয়াক্ত</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নামাজ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আদায়</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কোরান</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">তেলাওয়াত</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">রাতের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বেলায়</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বিশেষ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">তারাবি</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নামাজ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এবং</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">অন্যান্য</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অনেক</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ইবাদত</span><span class="s2">-</span><span class="s1" style="font-family: KohinoorBangla-Regular;">বন্দেগি।</span><span class="s2"> </span></div>
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<span class="s1" style="font-family: KohinoorBangla-Regular;">এবং</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এইসবের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মাঝখানে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">একটা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আকর্ষণীয়</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অংশ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হচ্ছে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সন্ধেবেলা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ব্যয়বহুল</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বিচিত্র</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">খানাপিনার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ইফতার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">যার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মধ্য</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">দিয়ে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সারাদিনের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">দীর্ঘ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">উপবাস</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আনুষ্ঠানিকভাবে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ভাঙা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হয়</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এবং</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পরবর্তী</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সেহরির</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আগ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পর্যন্ত</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অবারিত</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">খানাপিনা</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">চালানো</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">যায়।</span><span class="s2"> </span></div>
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<span class="s1" style="font-family: KohinoorBangla-Regular;">এখানে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">উল্লেখ্য</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">যে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বেশিরভাগেরই</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ধারণা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">রোজা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পালনের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মাধ্যমে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আমরা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আল্লাহকে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">খুশি</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">করি</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আল্লাহর</span><span class="s2"> ‘</span><span class="s1" style="font-family: KohinoorBangla-Regular;">সন্তুষ্টি</span><span class="s2">’ </span><span class="s1" style="font-family: KohinoorBangla-Regular;">লাভের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">চেষ্টা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">করি</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কিন্তু</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">রোজার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">তাৎপর্যপূর্ণ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">দিকটা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হচ্ছে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">যে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এর</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মাধ্যমে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">গরিবের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অনাহারজনিত</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কষ্ট</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">উপলব্ধি</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">করবার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এবং</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এর</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">থেকে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হতদরিদ্রের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সহায়</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হবার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">শিক্ষা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অর্জন</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">করা।</span></div>
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<span class="s1" style="font-family: KohinoorBangla-Regular;">যা</span><span class="s1" style="font-family: KohinoorBangla-Regular;">ই</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হোক</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">উপোস</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">করা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">রোজা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পালন</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ব্যতিক্রমী</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কিছু</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নয়</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এমনও</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নয়</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">যে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এটা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">খালি</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ইসলাম</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ধর্মেই</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আছে</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">একেশ্বরবাদী</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বিশ্বাসে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বলীয়ান</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">প্রায়</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সমস্ত</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ধর্মে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এই</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আচারকৃত্য</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অবশ্যপালনীয়</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হিশেবে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বিভিন্ন</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ধরনে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বিভিন্ন</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মেয়াদে</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">জারি</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আছে।</span><span class="s2"> </span></div>
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<span class="s1" style="font-family: KohinoorBangla-Regular;">বৌদ্ধ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ধর্মাবলম্বীদের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মধ্যে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এই</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কৃত্যাচারটি</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কেবল</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কয়েকটি</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">দিনের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মাসের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মেয়াদি</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">জিনিশ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নয়</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এটা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">তাদের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কাছে</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">অত্যন্ত</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কঠোর</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">একটি</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">শৃঙ্খলা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এবং</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নানান</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নিয়মে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বছরব্যাপীই</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">প্রায়</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">চালু।</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বৌদ্ধ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ধর্মে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সংযমের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">শিক্ষা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অনেক</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">পরিব্যাপ্ত।</span></div>
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<span class="s1" style="font-family: KohinoorBangla-Regular;">কয়েক</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">দিন</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কয়েক</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মাস</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কেবল</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নয়</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এমনও</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হয়</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">যে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বৌদ্ধ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ভিক্ষুগণ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মাসের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পর</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মাস</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">দিনের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পর</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">দিন</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">তাদের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সংযম</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সাধনা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">চালিয়ে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">যাচ্ছেন</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এবং</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আহার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ও</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অন্য</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সমস্ত</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">জাগতিক</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আয়েশ </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বিলাস</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পরিহার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">করে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">চলছেন</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">শুধুমাত্র</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পানি</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">খেয়ে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বেঁচে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">থাকছেন</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">দিনের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পর</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">দিন</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এমন</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বৌদ্ধ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ভিক্ষুগনের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">উদাহরণ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আমরা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">জানি।</span><span class="s2"> </span></div>
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<span class="s1" style="font-family: KohinoorBangla-Regular;">বিশ্বাস</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">করা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হয়</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">যে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">উপবাস</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">তথা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পানাহার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">থেকে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বিরত</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">থাকার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নির্দিষ্ট</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সংযম</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পালনের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">দ্বারা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মানুষ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ধ্যানের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এমন</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">স্তরে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">উন্নীত</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হতে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পারে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">যেখানে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অন্য</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কোনোভাবেই</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">উন্নীত</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হওয়া</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">যায়</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">না </span><span class="s1" style="font-family: KohinoorBangla-Regular;">যার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ফলে</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এই</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ধ্যানের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মাধ্যমে</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মানুষ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">লাভ</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">করে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অসীম</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">স্রষ্টায়</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">লীন</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হবার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সুখ</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পরমের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সাহচর্য</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অর্জনের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">উপায়।</span><span class="s2"> </span></div>
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<span class="s1" style="font-family: KohinoorBangla-Regular;">বৈজ্ঞানিকভাবে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">দেখা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">গেছে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">যে</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নিয়ৎ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সহ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">যদি</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বিশেষভাবেই</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নির্দিষ্ট</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কতিপয়</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অনুশাসনপ্রক্রিয়া</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মান্য</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">করে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">উপবাস</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">অব্যাহত</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">রাখা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হয়</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">তাহলে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মানুষের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">শারীরবৃত্তীয়</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পরিপাক</span><span class="s2">-</span><span class="s1" style="font-family: KohinoorBangla-Regular;">বিপাক</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ইত্যাদির</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">প্রতিক্রিয়া</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">প্রশমিতকরণের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মাধ্যমে</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">আমাদেরকে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এমন</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">দিকে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ধাবিত</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">করে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">যেদিক</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">দিয়ে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">গেলে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নিজেকে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নিয়ন্ত্রণ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">করা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">যায়</span><span class="s2"> — </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এবং</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এভাবে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এমন</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">একটি</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">জীবনে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">প্রবেশ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">করা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সম্ভব</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">যেখানে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কেবলই</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নতুন</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নতুন</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আবিষ্কারের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">উদ্ভাসনে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">উজ্জ্বল</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পারে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আমাদের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">দুনিয়া।</span></div>
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<span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">আবিষ্কারগুলো</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বলা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বাহুল্য</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">শুধু</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">শরীরবৃত্তীয়</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">প্রশান্ত</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">উদ্ভাসনেই</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সীমাবদ্ধ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নয়</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বরং</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অনেক</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বেশি</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মানসকেন্দ্রী।</span></div>
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<span class="s1" style="font-family: KohinoorBangla-Regular;">ঠিকঠাক</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">নিয়ৎ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ও</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ঐকান্তিক</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ইচ্ছা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">দ্বারা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">চালিত</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হয়ে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কেউ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">যদি</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">রোজা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">রাখে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">তাহলে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">তার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মানসজগতে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পরিবর্তন</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">আসে </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মস্তিষ্কে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এর</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">প্রভাব</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বহুমুখী</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এবং</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অত্যন্ত</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">তাৎপর্যগভীর</span><span class="s2">; </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হাজার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হাজার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বছর</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ধরে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">তপস্বী</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ঋষি</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ও</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সুফিদের</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">মধ্যে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এই</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পানাহারনিবৃত্ত</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সংযমসাধনার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">উদাহরণ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">আমাদেরকে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এই</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ইঙ্গিতই</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">দেয়</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সুস্পষ্টভাবে।</span><span class="s2"> </span></div>
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<span class="s1" style="font-family: KohinoorBangla-Regular;">মুসলমানদের</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">কাছে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সোয়ম</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">সংযম</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হচ্ছে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এমন</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এক</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">তপস্যা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">যা</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ধার্মিক</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">তাৎপর্যমণ্ডিত</span><span class="s2">, </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এছাড়াও</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">এর</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ফলে</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">মানবদেহ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">ও</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মানবমন</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পরিশুদ্ধ</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হয়</span><span class="s2">, </span><span class="s1" 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style="font-family: KohinoorBangla-Regular;">এর</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মধ্য</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">দিয়ে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">মানুষ</span><span class="s2"> ‘</span><span class="s1" style="font-family: KohinoorBangla-Regular;">স্রষ্টার</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">চৈতন্য</span><span class="s2">’ </span><span class="s1" style="font-family: KohinoorBangla-Regular;">বা</span><span class="s2"> ‘</span><span class="s1" style="font-family: KohinoorBangla-Regular;">তাকওয়া</span><span class="s2">’ </span><span class="s1" style="font-family: KohinoorBangla-Regular;">লাভের</span><span class="s2"></span><span class="s1" style="font-family: KohinoorBangla-Regular;">পথে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">অগ্রসর</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">হতে</span><span class="s2"> </span><span class="s1" style="font-family: KohinoorBangla-Regular;">পারে।</span></div>
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<span class="s1" style="font-family: KohinoorBangla-Regular;"><b><i>চলবে</i></b></span><span class="s2">......</span></div>
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Mac Haquehttp://www.blogger.com/profile/14042188545433901143noreply@blogger.com0tag:blogger.com,1999:blog-10576392.post-76194977003360407852020-04-23T07:42:00.001+06:002020-04-23T07:57:11.558+06:00Bengalee Islam: A case for the Lalonist movement in Bangladesh<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Maqsoodul Haque aka Mac Haque</b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Of all the social movements dominating public narratives of Bengal for nearly a thousand year is the one that deals with Bengalee spirituality that has been a part and parcel of the life, living and belief system of the toiling masses living in the villages. The praxis of Vaishnavism which has its origins in Sakyamuni Buddhism of Bengal that entered a golden age through King Ashoka, Kanishka and down to the reign of Palas and Chandra rulers of the twelfth century left indelible imprint in the socio-political-cultural landscape with us the modern Bengalee basking on the legacy of what has been turned down to us in the modern age i.e. the millennium century by our ancestors. </span></div>
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In essence it was during the Vaishnavite era, that the inroad of Sufi Islam with its many Sages, Saints and tarikats brought an era and to the surface a climate of cohesion and assimilation that survives intact until date. However many travails and tragedies have dogged it and this article is focused on finding the root cause of where we have gone wrong and what are the remedies readily available to correct the treacherous and slippery paths we have had to encounter.</div>
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Call it Bengalee Islam, Sufi Islam, <b><i>Ma’arefoti </i></b>Islam or whatever, the overarching truth behind the phenomenon’s finds roots in several coordinates that endeared them to the genetically secular Bengalees. For one, the idea of peace, brotherhood and respect for fellow human beings has always been integral in the belief systems of all major religions of the world with Bengal and Bengalee Islam being no exception. Secondly the lofty ideals of cohesion and assimilation that the Vaishnavite expounded where in no way dissimilar to what the Sufi Muslims where preaching and coalesced very well when they were making their initial inroads into India. And thirdly and most importantly, the Bengalee respect for food, agriculture and the natural cycles and its rejection of crass capitalism meant that these so-called ‘subordinate cultures of the riff raffs’ had many a common element to resist the aggression and oppression of the British rulers who had looted and pillaged India, leaving it to a state of pauperization. This is quite opposed to the wealth and prosperity witnessed before the British entered India. Therefore when it came to resistance, Bengalees had more reasons to challenge the imperial status quo, and all of it to consolidate itself with penchant for music and prayers. </div>
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Respect for elders saw Saint Veneration at its forefront and soon enough the powers forged to move away from pacifist peaceful struggle and embark upon a deadly and violent resistance to the British Raj. The Fakir-Sanyasi rebellion erupted in 1772 after 150 or more Fakirs and Sanyasis were slaughtered in Jessore by the British for no apparent reasons. The Fakirs and Sanyasis used to rely on alms from local communities to visit the many Shrines and places of worship - and more so, these alms came from the well endowed like the Zamindars and other traditional feudal landlords. However with the East India Company increasing land taxes some feudal landlords were as is believed unable to assist these wise women and men. However that appears to be one of the many popular narratives and not the reason for the massacre. Overlooked is the Fakir Sanyasi movements with its wide popularity in seeking peace and a rejection of crass capitalism – the British decided to act heavy handedly with the matter of alms merely a ruse. </div>
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<b><i>The local feudal lackeys obviously supported the move of the Raj. What ensued was nearly 80 years of unabated rural guerrilla warfare with the Fakir-Sanyasi retaliating with brute force, seizing food godowns and distributing the loot to the dispossessed and marginalized as well as killing British soldiers and senior officers. While historical accounts of the rebellion are few but not available in the public do main, denied completely is the thought that it was the earliest in fact the first Independence movement of India and the Subcontinent from British subjugation. However as ironic as this may sound, it was because the movement was one led and conducted by the poorest of the poor; figures like Mahatma Gandhi, Jahwarlal Nehru and Mohammad Ali Jinnah were propelled to national limelight. The poor and disenfranchised, the marginalized of Bengal and indeed the Subcontinent were denied their moments in India’s glorious history. That trend continues.</i></b></blockquote>
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Nonetheless as of the beginning of the 1812 following the death of its first rebel leader Majnu Shah the revolt and rebellion after years of protracted and bloody guerrilla warfare waned. Thus began a return of many of the Sages and Saints of the Bhakti movement back to the fold of their communities from where it all began. What followed was a tolerance of the British Raj towards the Fakir and Sanyasis – because by the following decades and by the time 1947 came with the Independence of India, the British had found and laid firm grounds to a new weapon of choice – the poison of communalism. It sought the destruction of Bengal’s culture of peace, tolerance and cohesion and replaces it with Supremacist ideas of God – which was rejected in the pre rebellion Bhakti era ideals and philosophies preached over centuries. </div>
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Among the Hindus saw a vulgar rise of the caste system with the Brahmin preacher class holding power and most of the jobs afforded by the British Raj. In Muslim saw the rise of the <i>Shariati </i>and <i>Wahabi </i>brand of puritanical Islam which lay waste to all secular possibilities and within the religion and ensured that its members remain entrapped, ignorant and backward. They taught them to reject followers of other religions as ‘kafirs’ as much as the Sufis who they branded as ‘Murtad’ or heretics. The division lines hardened,</div>
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Bhakti only demanded that people ditch irrational and expensive rites and rituals that conventional religions demand as an ‘expression of faith’, and instead lay a full devotion for the one God of Mankind. This was no different from the preaching’s of the monotheist Prophets in Mankind’s history – down to Prophet Muhammad (pbuh) the last Prophet – and Islam was an egalitarian religion that preached the same ideals of peace and tolerance and service to the marginalized. Islam was a poor man’s religion, yet the tragedy of Islam is post the death of the Prophet the religion was hijacked by the aristocracy, and became the religion of feudal land lords and the elite, which preferred to look the other way, as it majority poor members of the so-called ‘<i>Ummah</i>’ (one soul and one body community) slid back into poverty.</div>
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<b><i>On the Vaishnavite paradigm in Nadiya district of undivided Bengal the advent of three Sages (commonly referred to as the ‘three mad men of Nadiya’) ushered in a new Golden Age. They were the Sage Shri Adatya Acharya, and his disciples Shri Chaitanya Mahaprabhu, the founder of Gaudiya Vaishnavism, and Shri Nityanada Mahprabhu that quickly spread to Seuria in present day Kushtia. </i></b></blockquote>
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The discovery in a near comatose state the form of Fakir Lalon Shah in 1772 further added a newer impetus to the movement. Lalon’s purported Guru Dervish Siraj Shah from Harishpur, Harinakundu in Jessore district is thought to have been one of the guerrilla leaders in the Fakir Sanyasi rebellion and as such all accounts of his teaching and philosophy continue to be shrouded in mystery as until today. Neither his akhara nor his Shrine was ever found!</div>
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Lalon began preaching from around 1792 with pacifist lessons learnt from his then underground guerrilla leader Guru Dervish Shiraj Shah which brought in a new dimension to Bengals belief system rejecting all class, caste and gender inequalities. He vociferously opposed the ‘politics of identity’ and said it wasn’t important as to which religion one is born into. The lofty ideal that there is none greater in the Universe than mankind which houses its omnipotent soul was music to the ears of the poor, marginalized, and toiling economically disadvantaged of the times. </div>
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<b><i>L</i></b><i><b>alon argued that it is only the Soul that is worthy of worship in that the human body is the central epitome of all Temples, Mosques, Pagoda, Synagogues and Churches. He also elaborated that the human body was a microcosm of what already exist in the Universe. It rang similar to the saying ‘what is above so is below’ in the teachings of the pre-Abrahamic teacher Philosopher and Sage Hermes Tresmegustus.</b></i></blockquote>
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Such radical philosophies, preaching and active praxis put him in conflict with the dominant Mullahs, Purohits and other clergies of the day; however he continued to resist with stoic determination. He faced social ostracization and paid huge personal prices, yet in his poems and songs of the time an unlettered Lalon persisted in his mission. He was versed not only in the Quran, but also all major religious text and treatise of the times, often quoting verses and references eloquently and flawlessly. </div>
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In one particular reference found of his times as a Sage is one where he was challenged by local Mullahs to prove his real worth as a Fakir (i.e. one with deep knowledge and insight into religion and life). As the story goes, Fakir Lalon Shah accepted the challenge and what ensued next was baffling. Recorded as a <i>bahas </i>or the highest level of Islamic engagement he upheld the lofty virtues of Ijtihad – with reason, argument logic and fairplay dominating his discourse in <u>‘decent and indecent language’. </u></div>
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In nearly 72 hours of nonstop debate where the Sage was surrounded by machete wielding Mullahs prepared to severe his head should he fail in the debate, Lalon not only won the debate, but returned with nearly 150 individuals who took ‘bayat’ or initiation to Baul way of life and became his ardent ‘murids’ or followers and stayed with him until his death in 1890</div>
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In as much a Lalon lived with endless controversies post his death the same oppressive regime continues until present times and have put a severe strain on the socio-political-cultural canvas of present day Bangladesh. The more distasteful aspect of these controversies was whether Lalon was a Hindu or Muslim at birth. Adding to the confusion Lalon until his death never admitted being the follower of any major religion. What he was as appears in modern day paradigm was an agnostic monotheist Sage, in that he believed in the concept of one God, but stood doggedly opposed to any rite and rituals or social complexities that the dominant religions of the time so demanded.</div>
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Fakir Lalon Shah left behind 1200 or more poems and verses referred to as ‘pawd’ r ‘kalams’ and portions of his works have been translated into English, Hindi, Arabic, Japanese, Chinese and other world languages. He influenced not only the rural denizens of Bengal, but also its feudal elite. Case in point is the Noble laureate Poet Rabindranath Tagore who did a yeoman service to Lalon by introducing his works to the elite of the then British Raj. He mentioned him eloquently in his series of lecture all over the UK and USA and over time Fakir Lalon Shah and his work received wide accolade and recognition. Not unsurprisingly the Baul way of life also met with genuine curiosity of a Western audience.</div>
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<b><i><br /></i></b><b><i>In 2005 UNESCO declared the corpus of Fakir Lalon Shah’s work as the ‘Oral Intangible Heritage of Mankind’ and those of us enamored consoled ourselves to the fact that perhaps this recognition will pave the way for appreciation of the Sages work, his philosophies as well as interalia change the fate of the toiling masses of Bengal and Bangladesh. We couldn’t have been more wrong!</i></b></blockquote>
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Bangladesh post the political developments after the 1975 assassination of its founding father Sheikh Mujibur Rahman was entrapped due to its poverty to rely on the oil rich Arab states like Saudi Arabia, Kuwait, the UAE and others. Export of cheap labour ensured that the country bounced back to a level of acceptable economic advances – but on the flip side also saw the influx of petro-dollars being used to facilitate hard line Islamism of the Shariati and Wahabi variety which our ancestors have so forcefully defeated. </div>
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Taking a fast forward from here on – while the hardliners held sway over the administration, politics and influenced almost all level of life, making Shariati-Wahabi Islam a dominant force in Bangladesh with devastating consequences. The new era of democracy ushered in after the hated military dictator General Hossain Mohammed Ershad was overthrown in a bloody student led agitation in 1990 proved to be very short lived.</div>
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The legacy of Islamism of the military dictators had the capacity to sway public sentiments to the extent that the fundamentalist Jamaat-E-Islami party and its leader, the nemesis and collaborators of the 1971 War of Liberation soon found a way to come to power and hold on to it with consequences that were bloody. The secular Bengalee culture had by that time been usurped and fundamentalism with all its shades and vagaries had taken centre stage of Bangladesh’s civil and political life by the year 2005 arrived. With the endless bomb attacks, attacks on minority communities, assassination of secular figures and arbitration in village courts in the much hated ‘fatwa’ it appeared that Bangladesh has taken the slip shod way down to the back seat of progress- PERMANENTLY!</div>
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The election of the secular Awami League Government headed by Sheikh Hasina the daughter of Bangladesh’s founding father saw the party winning a landslide victory on 30th December 2008 and thereby returning to power. Yet the party which was voted to power on the mandate of the young and impressionable post 1971 era students and youth, soon found itself having to live and honour its commitment of trying the collaborators of 1971 – especially the Jamaat E Islami and its leaders.</div>
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By 2013 when the War Crimes Trials were started and instituted, the first verdict of life imprisonment of the hated Abdul Kader Mollah infuriated the young – who besieged the Shahbagh Square from 5th of February 2013, i.e. on the day the verdict was delivered. Millions thronged the Square and protest continued round the clock for nearly four months. By the time it all ended the initiatives of the youth led Awami League backed Gonojagaron Moncho ensured that its pressures made the Government change the manner of reviews of war criminals records. Nearly all of the criminals were hanged by the end of 2016, while some died natural deaths and others are serving out life imprisonment. </div>
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Despite the populist and pacifist movement nothing changed as while the Gonojagaron Moncho movement was in full swing, its young secular protesters were dubbed atheist with loose morals and the fact that the young were thronging Shahbagh Square without any gender bias and mixing freely made the Islamist hardliners take a position which soon made the movement veer out of control. The fact that the Awami League had by the end of February 2013 hijacked the movement put the elected Government in a very compromising situation. The march on Dhaka by fundamentalist Hefazat e Islam made the situation dire and the division lines which were already hanging on the seams quickly snapped. The media hype created nationwide and beamed 24/7 on live television made the masses believe that the movement was led by atheist and that the ruling Awami League is all bent on making Bangladesh an atheist state.</div>
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The second march on the Shapla Chattar at Motijheel in May 2013 and the subsequent attack by <i>Hefazat E Islam</i> fundamentalist ensured that the division was by then complete. The nation was compromised by lines veering on its secular values against hard line fundamentalism of the Shariati-Wahabi version, and soon enough the spectacles of what we had witnessed in the Middle East Afghanistan and Pakistan reared its ugly head in Bangladesh. </div>
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<b><i>As of writing these report nearly 60 percent of the population of Bangladesh have turned Islamist with males attired in skull caps and flowing gowns while women prefer the veiled hijab, nikab and the burkha Islamism is also rife in the educational curriculum with the Mollahs insisting on fundamentalist Islamic teaching which is neither sanctioned in the Quran or Hadith. </i></b></blockquote>
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While Fakir Lalon Shah may have won the UNESCO recognition in 2005, the truth of the matter is his teaching, poems and philosophy were hardly ever included in educational curriculums while poets with average intellect were given a fair berth. The few and in between verses of Lalon which founds its way into educational curriculum, were either ‘Islamized’ or completely deleted out. That being the sorry state – Lalon and his teaching went back to where it originally evolved from, to the masses in our rural backwaters. While millions of Lalon followers throng his Shrine in Seuria, Kushtia in the twice yearly Shadhu Shongo or Conclave of the Wise, his presence in public narratives have all gone woefully missing!</div>
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What we have thus been left with is to deal with a fierce enemy among the zero centric Shariati-Wahabi fundamentalist is a force that could have not only challenged the status quo but was inherently secular and pragmatic. We denied ourselves the fodder that were easily available in our grass root culture and one that answered millennium issues and shortcomings in a bold and robust manner. The reason for our defeat was suicidal for like our British and Pakistani oppressors we had decided that the voice of the marginalized – the poor – should never be heard, instead we left it to our city bred elite and the educated middle class to do us the favour. These classes have long been susceptible to crass materialism and have withstood any effort to be outflanked or outmaneuvered from their entrenched and genetically feudal mentalities. </div>
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The poor will however not be in a position to be patient or tolerant for too long. The shifting sands of time will make relics out of the riches and depravity indulged in by our elite. Like it did to fight back the British oppressors of yore – time is not too far when they will retaliate in equal measures to our insensitivity. For far too long we have basked on our ill-gotten wealth and trappings of a good life to be challenged and rooted out from the core. The specter of a Fakir Sanyasin revolt and rebellion looms large on the horizon. It is our only way to salvation. A bloody rebellion and revolution which will put us together with our Shariati-Wahabi collaborators – down in the ground, not some celestial heaven where we think it iss only Heaven that awaits us.</div>
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Wishing everybody a Glorious Victory Day!</div>
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J<b>oy Guru Alek Shai!</b></div>
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Pallabi, </div>
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First Published on 3rd December 2017 (late upload)</div>
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Mac Haquehttp://www.blogger.com/profile/14042188545433901143noreply@blogger.com0tag:blogger.com,1999:blog-10576392.post-28535306070330574572016-03-30T16:31:00.000+06:002016-04-10T13:43:19.406+06:00Muchkund Dubey and Hindi translation of Fakir Lalon Shah’s work<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: left;"><span style="background-color: #f3f3f3; font-family: "arial" , "helvetica" , sans-serif; line-height: 18.6667px; text-align: justify;"><span style="color: red; font-size: x-small;"><b><i>A common sight at Fakir Lalon Shah Shrine in Seuria, Kushtia - LTR a Gouriaya Vaishnab a title Maulana and a Baul Sadhu Guru in one frame. Day 3 of Fakir Lalon Shah Doul Purnima Utshob March 24th 2016. Picure credits - author</i></b></span></span></td></tr>
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<span style="color: #141823; font-family: "arial" , "helvetica" , sans-serif; line-height: 18.6667px;"><b>Mac Haque </b></span></div>
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<span style="color: #141823; font-family: "verdana" , sans-serif;"><span style="line-height: 18.6667px;">I have read <a href="http://l.facebook.com/l.php?u=http%3A%2F%2Fwww.thedailystar.net%2Fcity%2Fturbulent-world-need-lalons-messages-1200724&h=LAQGDflkz&s=1" target="_blank">reports in The Daily Star</a> as well as in t<a href="http://www.prothom-alo.com/bangladesh/gallery/811621/%E0%A6%B2%E0%A6%BE%E0%A6%B2%E0%A6%A8-%E0%A6%AB%E0%A6%95%E0%A6%BF%E0%A6%B0%E0%A7%87%E0%A6%B0-%E0%A6%B8%E0%A6%BE%E0%A6%A7%E0%A6%A8%E0%A6%BE-image-557071" target="_blank">he Prothom Alo</a> about a discussion held in Dhaka on 27th March 2016 by the eminent Muchkund Dubey, former High Commissioner of India in Bangladesh, focused on his efforts to translate Fakir Lalon Shah's work into Hindi. While I respect his deep admiration of Lalon, I am constrained to note that in his well meaning intentions to 'spread the message’ of the Sage so that they 'claim their own place in bookshops and libraries all around the world' and other comments in the reports, demonstrates a thought process that has strains of overt patronisation, language chauvinism and supremacism. </span></span><br />
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<span style="color: #141823; font-family: "verdana" , sans-serif;"><span style="line-height: 18.6667px;">It is precisely this thought process that puts a brake on the lofty ideals of Fakir Lalon Shah's message and his enduring legacy. If in Dubey’s words 'humankind is one' then his intention to delineate mankind into languages other than ones of the original stakeholder defeats ultimate objectives of the South Asian liberation philosophy or <i>'jogot mukti'</i> as articulated by Lalon. </span></span><br />
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<span style="color: #141823; font-family: "verdana" , sans-serif;"><span style="line-height: 18.6667px;">It is also hurtful that discussions following Dubey's presentation had many Bangladeshi 'academics and intellectuals', Lalon scholars as well as researchers - yet there was none in the audience to present things in their coherent perspectives. Coming a month after the International Mother Language Day, it was imperative of the intellectuals to insist on Bangla language, not because as a nation we believe in language chauvinism, not even because we are ‘parochial’ – but through a conscious realisation that the foundation of Bangladesh as a nation state was because of our Bangla language, that the sparks of our own liberation struggle from the Pakistanis came because our language was oppressed.</span></span><br />
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<span style="color: #141823; font-family: "verdana" , sans-serif;"><span style="line-height: 18.6667px;">While we are in no way opposed to translation of Lalon’s works, least of all Hindi, our objections on Dubey's translation is his insistence that if done in Hindi, Lalon will reach a 'world audience' begets a few questions and counterpoints. Is Hindi at all a world language? </span></span><br />
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<span style="color: #141823; font-family: "verdana" , sans-serif;"><span style="line-height: 18.6667px;">While lists of spoken languages have always been controversial, Hindi dominates South Asia given the sheer size of India’s population. However as per the <a href="https://www.facebook.com/l.php?u=https%3A%2F%2Fen.wikipedia.org%2Fwiki%2FList_of_languages_by_total_number_of_speakers&h=VAQGIOsSC&s=1" target="_blank">Ethnologue Report</a> updated in 2015, Bangla with 210 million speaker ranks 8th in position of spoken, whereas Hindi (together with Urdu) with 160 million speakers ranks 11th. If this be true and since a majority of Bangladesh’s and West Bengal’s Bangla speakers have absolutely no issues understanding Hindi, where then lies the problem of Hindi speakers to learn Bangla to understand the verses of Fakir Lalon Shah? </span></span><br />
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<span style="color: #141823; font-family: "verdana" , sans-serif;"><span style="line-height: 18.6667px;">Dubey makes fundamental errors of judgment when he calls Lalon's work 'poems' and him a 'poet' when in reality they/he are anything but! His works are ‘verses’ embodied in words that have their own divinity. Lalon wasn't a 'Saint poet' for he claimed no honorific more than a <i>'Fakir'</i>, which duo entendre implies - a) humble seeker of deep knowledge, and b) the poorest of the poor. Terming Lalon a 'Saint' severely contradicts and limits Lalon the Sage, the visionary, for his revulsion for humans raised to ‘pedestal for worship' is well known and had no place in his persona. </span></span><br />
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<span style="color: #141823; font-family: "verdana" , sans-serif;"><span style="line-height: 18.6667px;">Dubey terming Lalon an 'illiterate' is disrespectful. Lalon’s wisdom, vision and state of consciousness, if not taken into consideration, the translation of his work may just be another exercise in futility. Other than seeking deep knowledge, meandering perplex <i>'shandyo bhasha'</i> or metaphorical language embedded within verses, Bengals divine thought process has to be captured through its own unique praxis. Baul life is an experiential process and is to be lived and exercised to the fullest. Verses cannot be randomly 'intellectualized' because the concept of Lalon's <i>'bhaaber udoy'</i> or the ‘connect to the divine’ is just not in singing his songs or reading them as poetry. Nothing can be advanced without understanding his informal curriculum and living life of a Shadhok - a seeker. </span></span><br />
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<span style="color: #141823; font-family: "verdana" , sans-serif;"><span style="line-height: 18.6667px;">The curriculum has four rigorous stages 1) <b><i>Sthulo Desh</i></b> - mundane level 2) <b><i>Proborto Desh</i></b> - transformative seeker 3) <b><i>Shadhok Desh </i></b>- an acknowledged seeker 4) <b><i>Siddhi Desh </i></b>- a perfected seeker, Sage, Godhead, Guru. Thus more than relying on ‘educated’ yet fossilized ‘intellectuals’ to assist him in his noble endeavor, Dubey may be well advised to spend time with ‘illiterate Fakirs’ and Gurus down in rural Bangladesh to grasp Lalon for his translations. </span></span><br />
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<span style="color: #141823; font-family: "verdana" , sans-serif;"><span style="line-height: 18.6667px;">While Dubey eulogises Lalon’s messages having ‘contemporary values’ the truth is those ‘values’ are eternal and infinite. The inherent problem really is the current status quo will never permit Bauls to have their own cultural space in ‘contemporary’ society and the reasons are simple. Lalon’s message has one dominant and foreboding warning and that is to discard the ‘perform or perish’ retinue of crass materialism.</span></span><br />
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<span style="color: #141823; font-family: "verdana" , sans-serif;"><span style="line-height: 18.6667px;">One speaker is quoted as saying ‘Lalon was both a spiritual person and a rebel’, but truth be told, the world or even Bangladesh as it is shaped in 2016, the greatest and emergent enemy is corporatocracy, which nourishes kleptocracy and all its associated ills. Lalon would simply not fit into this ‘new world order’. Yes Lalon was a rebel - but if he was born in these times he would have spent them not in his Akhara at Seuria, but in a prison. The ‘academics and intellectuals’ besieging Dubey will have demanded that he be locked in permanently and the keys thrown away for good! </span></span><br />
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<span style="color: #141823; font-family: "verdana" , sans-serif;"><span style="line-height: 18.6667px;">Fakir Lalon Shah is the property of the world yet his language was Bangla. His verses are ‘un-translatable’ and even editing his work is fraught with enormous difficulties. Part of the fractured legacy of Lalon can be noted in his earliest public verses edited and published by the Nobel Laureate Rabindranath Tagore. In catering to the neo-elite of then Calcutta, Tagore circumcised many archaic Bangla words from the originals considering them ‘out of context’, ‘bad spelling or grammar’ and consequently many of the original messages of Lalon delivered in rustic Nadiya dialect have been erased from history. The dangers of translating Lalon into Hindi can hardly be over emphasised. </span></span><br />
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<span style="color: #141823; font-family: "verdana" , sans-serif;"><span style="line-height: 18.6667px;">Nonetheless here is wishing Mr. Muchkund Dubey the very best! </span></span><br />
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Mac Haquehttp://www.blogger.com/profile/14042188545433901143noreply@blogger.com0tag:blogger.com,1999:blog-10576392.post-73280618191981566792014-09-05T02:13:00.003+06:002014-09-05T02:17:25.592+06:00'জিহাদ বাংলাদেশ' এবং 'ইজতিহাদ' সম্পর্কে<div dir="ltr" style="text-align: left;" trbidi="on">
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আমার মনে হয় এই মুহর্তে আমাদের সব চাইতে জরুরি ভিত্তেতে যেটা দরকার তা হলো এই সকল ওয়াহাবী/সালাফি/শরীয়তি ইসলাম পসন্দ আলেম উলেমা মল্লাহ্দের সাথে একটা প্রকাশ্য সম্ভব হলে টেলিভিশন এর মাধ্যমে 'বাহাস' বা 'ইজিতিহাদ' তথা যুক্তিতর্কে বসা | অনেক যুগ অনেক কাল পেড়িয়ে গেছে উনাদের এক তরফা ভুয়া ইসলাম এর মন্ত্র গিলতে গিলতে | অনেক বাজে কথা ওয়াজ মহফিলে, মসজিদে বলা হয় যা সব এক তরফা 'বয়ান' যেন সয়ং আল্লাহ নিজেই কথা বলছেন | কোনো রকম পাল্টা প্রশ্ন করা, আলেমদের কে নাকি 'বেইজ্জতি' করা| সেটা 'হারাম' উনাদের ভাষ্য মতে | এমনকি রাসুলাল্লাহ কে নিয়ে এদের মিথ্যা অধিকংশ হাদিস আমরা মেনে নিয়েছি সত্য বলে | আজকের দন্ড 'প্রকৃত ইসলাম' ও 'পোশাক ধারী মোসলমানের' দন্ড | যতই চেষ্টা করেন কোনো লাভ নেই কারণ আদতে আমরা ধর্ম সংক্রান্ত কোনো আলাপ 'স্পর্শকাতর' এর সিল দিয়ে বাক্সবন্দী করে রেখেছি স্বাধীনতার পর থেকে | 'প্রগতিশীল' আওয়ামী লিগ বলেন, 'মৌলবাদী' বিএনপি বলেন, জামাত বলেন আর হেফাজাত, আল কাইদা বা আইসিস বলেন - সবাই তো ওই একই ওয়াহাবী/সালাফি/শরীয়তি ইসলামের ধারক বাহক এবং প্রতিপালক! কি ভাবে ওদের সাথে লড়বেন যখন প্রকৃত ইসলাম, খেটে খাওয়া মেহনতি মানুষের, দরিদ্র মানুষের মোহাম্মদী ইসলাম সম্পর্কে বিন্দু মাত্র জ্ঞান বা ধারণা নেই আপনাদের?</div>
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Mac Haquehttp://www.blogger.com/profile/14042188545433901143noreply@blogger.com0tag:blogger.com,1999:blog-10576392.post-41446127749385117152014-07-21T09:55:00.001+06:002014-07-21T09:56:48.793+06:00From Akhara to Fusion - the transformation of Baul music in Bangladesh - Part 14<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Trebuchet MS, sans-serif;"><b>by Maqsoodul Haque </b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b>14. New millennium advances and female Bauls</b> </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Fakir Lalon Shah in one of his famous verses said <b><i>''only worshiping your mother, will lead you to the address of your father'' </i></b>signaling that among Bauls there are no gender biases. Yet as we look back at the evolution of Baul music, there are incredibly no references or names of any female exponents, practitioners or Gurus for that matter. One reason may well have been the entrenched patriarchy in our culture was more malicious in the ages gone by, with women being assigned back seats. The other and more significant aspect could be that on the Sufi paradigm of Bauls and Islamic spirituality, the complex gnosis or Ma’arefat schools of thought, demands that secrecies centering spiritual transmission chains are best protected and preserved by women – NOT men. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Over 200 years ago when ‘women’s right’ was unknown in our - or any other part of the world, among Bauls it was a complete part and parcel of their belief system. Women hold commanding position among Baul as even today and are in many case equated above the male for they not only take on the pain of bearing and rearing children, they have traditionally assisted the male in all cumbersome burdens in activities within our agrarian society. That is not all, other than agriculture, among the hundreds of household chores that they actively participate in, as well as shouldering the protection and preservation of esoteric secrecies in their belief system, most Baul women are also volunteers in the para-military auxiliary forces Ansar and VDP, and have firearms training – everything from pistols, rifles to sub-machineguns!</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Nonetheless, over times and the historical transformation of Baul music what has stood apart – is for reasons unknown, and despite the dominant male singers in the genre, the female voice has a uniquely compelling ability to convey the pangs, pathos and the deep meanings of Baul songs. Although there are no empirical evidence to the same, many a musicologist have argued that Baul music is essentially a female musical form that has been usurped by the male!</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Whatever the case may be, among the very few women mentioned in scholarly books on Bauls, we come across the earliest name of Layli Begum. From the Kushtia/Chuadanga region, she came into prominence in the 1960’s courtesy of the radio. Staying true to Akhara traditions the name of Kangalini Sufiya who at age 14 left the comforts of her home and ventured out to be a Baul singer is the most prominent. Sufiya is one of the most extensively travelled Baul singer and has visited the US, UK and other European countries and as far off as China, Korea. At age 70 and in very poor health her on-stage presence today continues to enthrall audience as much as her wit, self deprecating humor and candor are legendary. Sufiya has also been featured in the ground breaking academic book “Women Renunciation in South Asia” where she is extensively quoted on Baul sexuality.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhveGe07v1a8hE2h9O4sGBafqcQv4UiNaimFVn2hoHrEiptPFiDeMDQez1TWscvsm81txjuHeQ4_vSvRQ2Y-6l4U70VAX0v3BCiQVwNSmJh42sWKA8Y8dkYMpFAJV5VHa268nqJRw/s1600/Aklima.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhveGe07v1a8hE2h9O4sGBafqcQv4UiNaimFVn2hoHrEiptPFiDeMDQez1TWscvsm81txjuHeQ4_vSvRQ2Y-6l4U70VAX0v3BCiQVwNSmJh42sWKA8Y8dkYMpFAJV5VHa268nqJRw/s1600/Aklima.JPG" height="320" width="243" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Aklima Begum</b></td></tr>
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<span style="font-family: 'Trebuchet MS', sans-serif;">Among the notable female Bauls from the Akhara tradition, <b>Aklima Begum</b> whose ancestry can be traced back to the earliest ‘shiri’ or ‘transmission ladder’ of Lalon is noteworthy. Aklima has been a practicing Baul as well as a householder and has staked her claim as an outstanding artist and performer since the late 1970s. It was post the appearance of Farida Parvin in the early 1970s that female Baul performers were getting noticed and other than the quality of their voices, they immediately started receiving rave responses from listeners who earlier had no inclination to listen to Baul music at all. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU8KGhi6Y_e8jit6zH4mxZH4z6j3g0teMVo8eaZnv6VajOSgc_KVA90GvoorOcjPPXZeNpmbAFfRFlwPvrX02gyFGVGtOah7I6-zlUo3ydKQihawvRC1PjpW9My1btRilCVmxEWQ/s1600/Shahnaz+Beli.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU8KGhi6Y_e8jit6zH4mxZH4z6j3g0teMVo8eaZnv6VajOSgc_KVA90GvoorOcjPPXZeNpmbAFfRFlwPvrX02gyFGVGtOah7I6-zlUo3ydKQihawvRC1PjpW9My1btRilCVmxEWQ/s1600/Shahnaz+Beli.jpg" height="218" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Shehnaz Beli</b></td></tr>
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<span style="font-family: Trebuchet MS, sans-serif;">Between 1980 to the late 1990’s outstanding singers such as <b>Shehnaz Beli</b> from Abdalpur, Kushtia were rocking the Akharas as well as major folk festivals all across Bangladesh, yet their appearance in the mainstream Bangladesh Television was limited. This was mainly because of intense competition among Bauls, and also apathy of the state run institute to embark upon proper research or creating database of artists. Shehnaz for instance was rarely heard in Bangladesh, yet was well known among the diaspora Bengalis all across the Middle East, Europe and America before her albums back at home finally brought her to media and national limelight – that too after 2000.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSWeY8dk_h7Vwr8bs8RIz0oSN85mTfHf66QDmTXmqRTJjOxBDi-y-QJUtB3CiikXMnKdO1tfy2mQMK3WXIWIQ1qlMyJqa0kpbcsve5NadpANx0pMrK8t0xkQ0KBdvf0v_f4d34Xg/s1600/Baul+-+Part+1+Image+1.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSWeY8dk_h7Vwr8bs8RIz0oSN85mTfHf66QDmTXmqRTJjOxBDi-y-QJUtB3CiikXMnKdO1tfy2mQMK3WXIWIQ1qlMyJqa0kpbcsve5NadpANx0pMrK8t0xkQ0KBdvf0v_f4d34Xg/s1600/Baul+-+Part+1+Image+1.JPG" height="256" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Zahura Begum</b></td></tr>
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<span style="font-family: Trebuchet MS, sans-serif;">Among artists still holding on to Akhara traditions and not known in the mainstream despite their tremendous performance and skills as artists are; <b>Zahura Begum</b> from Harishpur, Harinakundu, Jhenaidah, <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">Kohinoor Akhter Golapi </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWZDqR85UyVM02eQVvm_Co4RJpfL-WUVdSDMsW0oGkl_JoH74QN_4a5rKuPO4BNh96ky7vYMJMNLqoBhbd3J_OQkwm6zMS2S2fxVpnwvXdg0OeikLu45lMOMYf9IRq8TcR_H96AA/s1600/Anjoli+Durga+Ghosh.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWZDqR85UyVM02eQVvm_Co4RJpfL-WUVdSDMsW0oGkl_JoH74QN_4a5rKuPO4BNh96ky7vYMJMNLqoBhbd3J_OQkwm6zMS2S2fxVpnwvXdg0OeikLu45lMOMYf9IRq8TcR_H96AA/s1600/Anjoli+Durga+Ghosh.JPG" height="261" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Onjoli Durga Ghosh </b></td></tr>
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<span style="font-family: Trebuchet MS, sans-serif;"><b>Onjoli Durga Ghosh</b> from Bheramara, Kushtia and Kohinoor Akhter Golapi from Seuria, Kushtia are mentionable. There is undoubtedly hundreds more female Baul artist worthy of mention all across the far flung corners of Bangladesh, who regrettably cannot be mentioned in this series, given space constraints.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEyR9oOvpc5uoVRHxAopIy_qDekwOz0LcfvJ-wjJWrONbYGBi5Jb1eIGComYVP3n2VvmJ2Mnm4orHZu67ZCKIWyLcY9iBoR8h8t9oX514h_tm5Zv7WiDH0IVQh7RFKhzv5dOwkGw/s1600/Anusheh+Anadil+-+Bangla.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEyR9oOvpc5uoVRHxAopIy_qDekwOz0LcfvJ-wjJWrONbYGBi5Jb1eIGComYVP3n2VvmJ2Mnm4orHZu67ZCKIWyLcY9iBoR8h8t9oX514h_tm5Zv7WiDH0IVQh7RFKhzv5dOwkGw/s1600/Anusheh+Anadil+-+Bangla.jpg" height="173" width="320" /></a></td></tr>
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<span style="font-family: 'Trebuchet MS', sans-serif;">The advent of the new millennium saw the arrival of the folk-rock fusion band Bangla’s first album Kingkortobbobimurho in 2002, which set a new milestone on the way forward with Baul music. The multi talented vocalist of the band <b>Anusheh Anadil,</b> through her perseverance created a niche audience comprising Dhaka’s educated elite and their English medium school and University going children. She sent waves down rural Bangladesh as well, where for years her association with masters of the Akhara tradition such as Fakir Rob Shah and teacher Shafi Mondol among others, gave her rendition of Lalon’s song an unsurpassed acceptability at the grassroots.. Taking Baul music to newer heights, in 2007 Bangla performed with likes of Bono of U2, Bob Geldof and Youssou N’Dour in a concert tour of Germany. Baul music thanks to Anusheh earned the millennium prefix of ‘cool’ !</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Following closely on heel with Bangla is the band Lalon – whose lead vocalist <b>Nigar Sumi</b> set new standards of fusing Baul music with rock. Their performances attract audiences all across Bangladesh, as much as they have toured the UK and elsewhere in Europe, the feather to their cap came during a packed performance at the hallowed precincts of the United Nations Headquarters in New York on 15th June of this year with the Secretary General Ban Ki Moon in rapt attendance.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><b>Concluded. </b></span></div>
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<a href="http://www.dhakatribune.com/entertainment/2014/jul/21/new-millennium-advances-and-female-bauls" target="_blank"><span style="font-family: Trebuchet MS, sans-serif;"><b>Link</b></span></a></div>
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Mac Haquehttp://www.blogger.com/profile/14042188545433901143noreply@blogger.com0tag:blogger.com,1999:blog-10576392.post-56854411938830871392014-07-16T02:17:00.002+06:002014-07-16T02:23:34.588+06:00From Akhara to fusion – the transformation of Baul music – Part 13<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: 'Trebuchet MS', sans-serif;"><b>by Maqsoodul Haque</b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b>13. The glorious 90’s – the revival of rock music and its role in Baul fusion</b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-small;"><b><i>The band Feedback's 1996 album titled 'Bauliana' is the first Baul fusion album in the history of Bangladesh</i></b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">10th of December 1990 will go down in the history of Bangladesh as the day that saw the ouster of the hated military dictator Hossain Mohammad Ershad. What has passed many of us by since; Ershad was overthrown by a youth led mass movement. Fed up with the incessant chicanery of their ‘leaders’ in their dealings with the dictator of nearly a decade, it was the only time that the youth front of Awami League, BNP and even Jamaat joined hand in an unprecedented display of unity – the rest is history. For the political landscape it was to see the return of semblance of representative democracy after 1975, a wait of almost 15 years. On the cultural landscape it would usher in a new era, where freedom of expressions, denied and subverted for decades were to be restored and enter center stage of popular imagination.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The other historical event was the first ever open air concert held by Bangladesh Musical Bands Association (BAMBA) on 16th December 1990 at the Mall Square of Dhaka University – the same spot, where over a dozen students were killed in a last ditch gun battle with the henchman of the dictator. Over 50,000 people thronged the Mall to witness the free concert where more than 15 rock bands celebrated freedom away from the clutches of dictatorship. The momentous concert ended on a heartening note that evening, with an hour long performance by Shahjahan Munshi the visually challenged Baul from Manikgang. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Rock and Baul music tied a symbolic thread of commonality and unity on the day – and that was only a demonstration of newer things to appear on the horizon. Urban mainstream and rural ‘cultures’ merged and as if by providence were set to rock in a manner unseen. The winds of change following the historical BAMBA concert saw rock music - stunted post-1975, re-emerge with strength and vitality – and together a noticeable shift in repertoire and listening habits of the audience. From 1990 onwards newer and unheard of genres entered the Bengali soundscape. From pop rock, hard rock to thrash metal, to heavy metal and jazz-rock fusion etc, very quickly and resolutely became powerful musical genres in Bangladesh. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">A young and appreciative audience was also lapping up Baul music for they realized and recognized that Bauls were part of our forefather’s rebellion against any form of oppression. Baul was our ancient roots rock tradition and the young just did not stop by giving it tokenistic lip service. Baul fusion was in fact just a few years away from happening. In 1996 the legendary band Feedback (the author was then its lead vocalist) much to the surprise of their urban fan based, launched a complete Baul fusion album. Titled ‘Bauliana’ – the album show cased the possibilities of interpreting Baul music in a global music format. Experimenting not only with the works of Fakir Lalon Shah and other masters of some 200 years, the band notched up their presentations by including living Bauls themselves in the album. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The legendary Hiru Shah the oldest living Baul of the Lalon Shrine at the time and Santosh Baul of Bhanga, Faridpur (both now deceased) were featured in the album, that saw the beginning of a process of Masters joining in an urban production. ‘Bauliana’ was the first Baul fusion album in the history of Bangladesh and was an instant ‘crossover hit’ endearing the band not only to their existing fan base, but also in rural Bangladesh – where it also gave listeners a foretaste of the unique and emerging rock music movement . </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The process of soul searching and introspection that is fundamental in Baul music and its philosophy soon became an ongoing praxis among new Baul fusion exponents - the majority of whom were from a generation that was born after the Liberation War of 1971. The Fine Arts Faculty campus in Dhaka University organised for the very first time a proper ‘Shadhu Shongo’ with hundred of Bauls and Shadu Gurus in attendance. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The times also opened up scopes for much younger Bauls emerging from the Akhara tradition to come to Dhaka to perform and record their works without been treated as ‘village bumpkins’! Outwardly the most potent indicator was; newer Baul music forms with the Akhara tradition notwithstanding, led to appreciation that had nothing in common with the closed, cliché and somewhat intolerant attitudes of the previous generation.</span></div>
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<b><a href="http://www.dhakatribune.com/entertainment/2014/jul/16/glorious-90s-%E2%80%93-revival-rock-music-and-its-role-baul-fusion" target="_blank"><span style="font-family: Trebuchet MS, sans-serif;">Link</span></a></b></div>
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Mac Haquehttp://www.blogger.com/profile/14042188545433901143noreply@blogger.com0tag:blogger.com,1999:blog-10576392.post-48569731832685132312014-07-14T12:38:00.004+06:002014-07-14T12:45:51.536+06:00From Akhara to fusion – the transformation of Baul music in Bangladesh – Part 12<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Trebuchet MS, sans-serif;"><b>by Maqsoodul Haque</b></span></div>
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<a href="http://www.dhakatribune.com/sites/default/files/imagecache/870x488_article_high/article/2014/07/14/12-Baul-Part-12-Image-1-kangalini-sufiya_0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://www.dhakatribune.com/sites/default/files/imagecache/870x488_article_high/article/2014/07/14/12-Baul-Part-12-Image-1-kangalini-sufiya_0.jpg" height="356" width="640" /></a></div>
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<i><span style="color: #222222; font-family: trebuchet ms, sans-serif; font-size: x-small;"><b>Kangalini Sufiya is legendary for her mesmerizing performance both at home and abroad</b></span></i></div>
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<b style="font-family: 'Trebuchet MS', sans-serif; font-size: x-large; text-align: justify;">12. Baul music from 70’s to the 90’s – heading for millennium challenges and new fusion genres </b></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Bangladesh Rock Music (popularly called ‘band music’) was never lagging behind in its appreciation and performance of Baul music. Post 1971, among the five legends of Bangla rock i.e. Azam Khan, Ferdaus Waheed, Feroze Shai, Fakir Alamgir and Pilu Mumtaz the use of folk music motifs interspersed with Baul, Jari, Shari, Kirtan, Maizbhandari, Fakiri, Ma’arefoti and Deho Tottyo into their repertoire was the usual fare. Yet when it came to presentation of Fakir Lalon Shah’s music – there were negligible efforts among the doyen’s of Bangla rock and there are no public records available of the same. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">There were two clear reasons for their hesitation. One was, the Akhara-new instruments controversy was at its height among academics and intellectuals post the Liberation War, and contributed to distance them from Lalon. The other was after the murder of Bangabandhu Sheikh Mujibur Rahman on 15th August 1975, military dictators and their ilk had undertaken a covert ‘Islamization’ agenda and anything that presented secular aspects of our culture, were either trivialized or completely ignored- if not totally banned. Media was at the mercy of our military masters, and Bauls were viewed with suspicion, their lyrics vetted, sometimes replaced with sectarian words, and their performances heavily regulated. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">However there has always been a silver lining in our heavily darkened cultural cloud. As has happened in various stages of Bangladesh’s cultural history, whenever faced with stiff resistance or repression, exponents of our culture have always stepped back and re-strategized. The Bengali genes of resilience has always activated itself to carve out newer niches in its creative expression and those in turn has championed newer, more robust and progressive branching out of culture. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">By 1990’s the typically cliché understanding of Bauls had to a great extent started to recede, with newer artist making their presence felt in both Radio and Television as well as live performances. The Government of Bangladesh regardless of whosoever was in power (including ruthless military dictators), never failed to accommodate Baul artist in any national level cultural delegations abroad. Baul music spread to Europe, America, all of the Middle East and to South East Asia, and while they shared platforms with other musical genres of Bangladesh, they never failed to rock. In one such performance during an international music festival in the mid-70’s at Wembley Stadium in London, Kangalini Sufiya who was allotted to sing only one song, stole the limelight after tumultuous encores from a dancing and clapping Western audience compelled her to sing for over an hour in the classic Akhara tradition with minimal use of instruments!</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The strength, energy and prowess of Baul artist such as Abdur Rahman Boyati, Kangalini Sufiya, Mumtaz Begum (now an elected MP in the Jatiyo Shangshad), Shah Abdul Karim, Shahjahan Munshi, Shahnaz Beli etc, made them sensations in their own rights. Over the years, Baul music could shed off its ‘palli geeti’ or ‘moromi sangeet’ tag and emerge as a potent independent genre, with the Government giving it the adequate importance and recognition it so badly deserved over centuries. It was perhaps at this point in our history, that folk musicians of all genres started claiming themselves Bauls. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">By the mid 90’s the burgeoning cassette industry made Baul music of all traditions widely acceptable at all levels, and greatly enlarged urban listener’s base. Hundreds of Baul artists were recorded and their works distributed – with some topping sales in unbelievable figures. An album by Mujib Pardesi for instance sold an astronomical 10 million copies in six month. Although not always accurate in its presentation, many cinemas and TV drama serials of the time projected Bauls lifestyle, and in small dosages their philosophy. All these positive projections saw by early nineties Baul becoming a fashion and accessory statement with the famous international model and fashion designer Bibi Russell presenting her gumcha line of dresses to a world audience. Bibi used Baul music during catwalks in international ramps.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">What was a matter of great pride was given all that was happening around Baul music and their controversial and unorthodox lifestyle - was a progressive movement among the educated and informed young in major urban centers all across Bangladesh. The important social indicator for this trend was the deepening political divides and the incessant attempts at per force ‘Islamization’ that has seen the dangerous rise of religious bigotry at all ends of our socio-political spectrum. Under the circumstances, disenchanted citizens specially the young found their answer and solace in Lalon, and the two yearly festivals surrounding the great Sage today witnesses hundred upon thousand and ever growing number of new seekers from cities converging at his Shrine, with many preferring as in the ancient times - to go under the tutelage of a Baul Guru.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><b><a href="http://www.dhakatribune.com/entertainment/2014/jul/14/baul-music-70%E2%80%99s-90%E2%80%99s-%E2%80%93-heading-millennium-challenges-and-new-fusion-genres" target="_blank">Link</a></b></span></div>
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Mac Haquehttp://www.blogger.com/profile/14042188545433901143noreply@blogger.com0tag:blogger.com,1999:blog-10576392.post-75922075984074185902014-07-13T11:20:00.003+06:002014-07-14T12:40:11.135+06:00From Akhara to fusion – the transformation of Baul music in Bangladesh – Part 11<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Trebuchet MS, sans-serif;"><b>by Maqsoodul Haque</b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b>11. Baul music – from acceptability to respectability and Khoda Buksh Shah Jr</b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-small;"><b><i>Khoda Buksh Shah Jr was awarded the Ekushey Padak in 1990 for his outstanding contribution to Baul music and Philosophy</i></b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The history of Bauls as a pacifist, humane and secular movement has traditionally wavered and treaded on the fate and fortune of prevailing socio-political climate of Bengal at any given time. It is the consistency of their belief system and their remarkably progressive thoughts while living in the economic hardship of rural backwaters of Bangladesh that has constantly endeared then to common people regardless of faith, belief or religion. While the Liberation War of Bangladesh in 1971 was a watershed year in our destiny as a nation, it was also a turning point in assimilation and acceptance of Bauls into our cultural life. When millions of urban Bengalis fled townships and cities to escape brutalities of the Pakistan Army, their shelter were in villages, where for many it was a first time experience to share meals, and live on and off with the poorest of the poor – with Bauls being no exception to the rule. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Bauls played a very significant role in inspiring Mukti Bahini guerrillas in their training camps. Together with songs of Tagore and Kazi Nazrul, those of Lalon and hundreds of other rural bards were effectively used for the war efforts and there were good reasons. Almost 85 percent of our valiant freedom fighters were from villages and Baul music as much as palli geeti as an art form is one they identified with instinctively, and perhaps genetically. Other than music, Bauls provided refugees and fighters spiritual guidance and psychological counseling in what were very traumatic times. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">It was therefore not unusual that many displaced urban residents got their first clear views and understanding about the Bauls during the war, and this in turn assuaged their curiosity and made Baul music not just a culture one could pass by, but importantly learn lessons on how to build a pragmatic, liberal, tolerant and exploitation free society. As the history of modern Bangladesh will surely attest, Bauls have been at the vanguard of any socio-political upheavals. Their music that has transformed from Akharas was by now a new force worth reckoning, and its strength emanated from an ability to adjust to demands of contemporary times, yet staying true to the rich tradition they have inherited and still actively live with. Bauls with twentieth century vision had arrived on the scene and set about dramatic new improvement and improvisations to the status quo.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Among the outstanding Baul luminaries of the new times, who created waves in preserving, archiving and documenting, the contributions made by Khoda Buksh Shah Jr, (1927- 14th January 1990 – no relation of Khoda Buksh Shah Sr) is noteworthy. Born in village Jahapur, under Alamdanga in Chuadanga district he developed a keen interest towards music at a very young age, joined a Kirtan choir and dropped out of school permanently. He soon became went under the tutelage of his famed Guru Shukchand Shah. Discarding his usual attire, he donned the saffron robe of a Vaishnavite Fakir to mark his transformation, while taking in the rigors of the Lalon school of thoughts as his prime focus of musical and spiritual discipline. Also, other than Shukchand Shah he spent 36 years of his living life under the tutelage of Guru Bihal Shah.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Where he surpassed his contemporaries; not only was he an exponent of Lalon, he also held phenomenal command on works of notable ‘podokorta’ (poets, bards) of the past such as Ramchandra Khyepa, Ramlal Pal, Rabi Shyam, Guruchand Gosai, Gopal Kashem Shah, Ekram Shah, Mofizuddin Shah – nearly 74 prolific Baul Masters of our times. Khoda Buksh was indeed a walking, and living archive with clear idea of the historical trends of Baul music of over 200 years at his thumbnail.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Khoda Buksh Shah Jr is remembered as a Baul poet, singer, writer, philosopher and composer of extraordinarily high standard and great acumen, leaving behind an archive of over 800 songs penned and composed to his credit. He served with the Bangladesh Shilpakala Academy from 1983 to 1987 as an expert on Lalon Shah's music. In 1983 the Bangla Academy awarded him with a fellowship for his skill and mastery on Lalon music. It was during his stint with Shilpakala that he introduced artist from the Akhara tradition such as Kiron Chandra Roy, Kanonbala Sarkar, Indramohan Rajbangshi, Dil Afroz Reba, Chandana Majumnder etc to the mainstream. Other than that he took initiatives of recording hundreds of song of all the great masters post Lalon until the 1980’s and they are preserved at the Transcription Services of Bangladesh Betar. In 1990 the Government of Bangladesh, posthumously awarded him with the prestigious National Award "Ekushey Padak" for his outstanding contribution to Lalon Music and Philosophy as also his own works, being the first among two Bauls Gurus to have received this honor thus far.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><b><a href="http://www.dhakatribune.com/entertainment/2014/jul/13/baul-music-%E2%80%93-acceptability-respectability-and-khoda-buksh-shah-jr" target="_blank">Link</a></b></span></div>
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Mac Haquehttp://www.blogger.com/profile/14042188545433901143noreply@blogger.com0tag:blogger.com,1999:blog-10576392.post-73513892132256036572014-07-11T11:00:00.001+06:002014-07-11T11:01:27.127+06:00From Akhara to fusion - the transformation of Baul music in Bangladesh - Part 10<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: large;"><b style="font-family: 'Trebuchet MS', sans-serif;">10. Pre and Post independence Baul music, Muksed Ali Shah and Farida Parvi</b><span style="font-family: 'Trebuchet MS', sans-serif;">n</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The British agenda of divide and rule saw the partition of India in 1947 precipitated by severe communal riots in Bengal and divide the Baul movement along sectarian lines. It led to the creation of Pakistan and saw Nadiya in Bengal split between East Pakistan and West Bengal. The age old non-sectarian, non-communal secular fabric of society of the region very quickly transformed with the creation of Kushtia district (formerly Kumarkhali) and the Shrine of Fakir Lalon Shah falling into ‘Muslim’ East Pakistan. The cultural and political triumph card for the rulers of Pakistan was Lalon himself, and since the title ‘Fakir’ preceded his name the 'Islamization' of Lalon and Baul music commenced in earnest. Much of the agnostic-monotheistic teaching of Lalon was abandoned and a ‘Sufi’ tag attached to give Baul music a ‘kosher liberal Muslim’ identity. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Most academic discourses of the time spiraled down to polemics centering the identity of Lalon and by default the belief system and unorthodox lifestyle of the Baul community as such. The age old debate of whether Lalon was a Hindu or Muslim was stoked to insane heights. The only positive aspect of the Pakistan period on Baul’s was the construction in 1963 of the Lalon Shrine in Seuria, Kushtia. His grave was properly identified by Fakirs and Sadhus and although the simple mausoleum that’s survives to this day displayed no sectarian symbolism the precinct was renamed a 'mazar' replacing its secular Bengali identity of 'dham'.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The spread of Baul music however continued with much of the Akhara institution left intact and Baul music assimilated and thrived within existing paradigms of 'Palli Geeti'. The famed poet Jashimuddin Ahmed wrote extensively about our folk traditions incorporating incognito recognition to Baul spirituality and their connection with nature. Likewise the Bangla Academy commissioned many scholarly works on Baul music and inducted the verses of Lalon into academic literature. Unlike Kolkata where Baul music entered mainstream courtesy of its elites ‘baithak’ (assembly) in sitting rooms, in what was East Pakistan it entered mainstream culture through radio, albeit adequately attired in the garb of ‘moromi sangeet’ or mystical music. Much of the misconstrued ‘Hindu-ized’ verses of Lalon were abandoned and in its place non-offending songs with largely ‘Sufi’ motifs were relayed.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The 1971 War of Liberation saw Bauls spontaneously join the Bengali aspirations for freedom. Among the many unsung heroes of the War, the role of the famed Baul Muksed Ali Shah (1933-1981) is exemplary. Coming from the Amulya Shah-Sukchand Shah school of Baul philosophy his immediate Guru was Fakir Nimai Shah of Alamdanga, Chuadanga. A college student at the time he was conversant with the use of firearms given his prior training with the paramilitary Ansar of which he was then a commander. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">After the Pakistan military crackdown in Dhaka on 25th March and elsewhere in East Pakistan, on 29th March 1971, Muksed Ali Shah organized and headed a pincer strike force that successfully conducted a daring guerrilla raid that led to the ultimate eviction of a Pakistan Army camp in Arorapara, outside Kushtia. Fatalities on the Pakistan side was over 250 killed and startled the then government who set a cash award of Rupees 10,000 for his head. This prompted him the flee East Pakistan and join the Shadhin Bangla Betar Kendro in India, where he proceeded to assist in the war efforts as a Baul artist and organizer. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">After the independence of Bangladesh Muksed Ali Shah established a solid reputation of a Lalon exponent and associated himself firmly both with Bangladesh Betar and Television. About the same time he used the ‘Lalon Academy’ in Kushtia as a focal recruitment ground for sourcing and training versatile Lalon singers for the Rajshahi and Dhaka centers of Bangladesh Betar. Among the talents discovered by Muksed was Farida Parvin who by her rendition of the new genre of Baul music blended with both Akhara and modern music genre, went on to create waves in our culture. Her appearance in Bangladesh Television sealed her berth in the national heritage, which led on to appreciation of Baul music not only in Bangladesh, but also globally. In recognition of her outstanding contribution to the works of Fakir Lalon Shah, the Bangladesh Government awarded her with the prestigious ‘Ekushey Padak’ in 1987.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><b><a href="http://www.dhakatribune.com/entertainment/2014/jul/11/pre-and-post-independence-baul-music-muksed-ali-shah-and-farida-parvin" target="_blank">Link</a></b></span></div>
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Mac Haquehttp://www.blogger.com/profile/14042188545433901143noreply@blogger.com0tag:blogger.com,1999:blog-10576392.post-56538490256819705542014-07-10T03:07:00.003+06:002014-07-10T03:10:27.431+06:00From Akhara to fusion – the transformation of Baul Music in Bangladesh – Part 9<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Trebuchet MS, sans-serif;"><b>by Maqsoodul Haque</b></span><br />
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<span style="font-family: 'Trebuchet MS', sans-serif;"><span style="font-size: x-small;"><b><i>Rabindranath Tagore made the most significant contribution in global outreach and understanding of Baul music</i></b></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: large;">9. Global outreach of Baul music, newer voice schools and instruments specialization</span> </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">By 1940 Baul music made rapid yet cautiously progressive strides capturing the imagination of the Kolkata elite. Over time it became a connoisseur art form and found acceptance in the burgeoning urban middle class. Heartened by the initiatives made possible by Khoda Buksh Shah Sr, these newly emerging stakeholders remained loyal to the Akhara tradition yet saw the need for adjustment and a radical change to mindsets. It commenced with creation and promotion of standalone icons i.e. individual performers/singers and musicians who could raise awareness of Fakir Lalon Shah’s music and thereby seize newer opportunities. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The era of professionalism had dawned on Baul music. For the more conservative Bauls, these trends were a ‘shocking departure’ from the Akhara tradition where efforts of the entire community were emphasized. The age old debate on authenticity got further embroiled in harmful shades of neo-puritanism as well as closet sectarianism. This was harshly criticized by the new exponents of Baul music for they argued that it defeated the purpose of Fakir Lalon Shah who was opposed to any form of puritanism. Baul music was reaching out to ordinary people in great numbers and shedding of its unnecessarily sacrosanct status.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The notable new entry for dissemination of music was All India Radio established in 1930. Baul music courtesy the radio was heard all across the Indian subcontinent and the led to newer curiosities as well as a whole range of literature on Baul music, notations and philosophies emerged. None other than the Nobel laureate Rabindranath Tagore made the most significant contribution in global outreach and understanding of Baul music. Deeply influenced by Baul music and Fakir Lalon Shah, Tagore in 1930-31 undertook a lecture tour of Europe and presented several papers which were later compiled in his epochal book ‘’ The Religion of Man’’. The book touched upon and factually documented the Baul belief system and its humanist philosophy. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The influence of Baul music and philosophies drew parallels with Tagore’s adherence to the reformist Hindu ‘’Brahmo Samaj’’ movement that began in 1828, and saw the commencement of the great Bengali Renaissance. By 1940, helped by many Bengali literati and musical stalwarts Baul music went global. Tagore also archived many of Lalon’s work in Shantineketon and set into motion the ‘’Baul-angyo’’ genre i.e. Baul influenced verses into the Rabindra shangeet repertoire. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Meanwhile in Chaudanga of erstwhile Nadiya district a lot was happening. The foremost of musical disciples of Buksh Sr, was Shukchand Shah a versatile and extraordinarily gifted vocalist. After a historical meeting between Shukhchand’s spiritual Guru Amulya Shah and Buksh Sr, Baul music assumed a dimension hitherto unheard of. Impressed by the groundbreaking work of Amulya, Buksh Sr, handed over his long preserved and documented archive of Lalon’s song to Amulya Shah and simultaneously, the mantle of vocalization to Shukhchand. The Amulya-Shukhchand duo thereafter charted a new fusion course, whereby Baul music infused with different musical instruments and influences became hugely entertaining and widely celebrated as it shed off much of the drab, dull and somewhat depressing sounds of the Akhara. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">What happened next was emergence of new schools of Baul music that replicated the modes, methodologies and rigor of the Indian classical ‘gharana’ (apprenticeship in comprehensive musicological ideology) tradition. This in turn resoundingly addressed two basic areas of contentions, i.) Gurus from the Akhara tradition would train disciples in music regardless of whether the subject was a seeker or a music student and ii.) usage methods in musical instruments itself became a discipline whereby only under the tutelage of a Akhara master would the musicians be guided. Other than voice training, this phase in Baul music saw the rise of Baul Gurus who introduced and trained disciples in musical instruments such as dotaara, harmonium, violin, khamak, gomok etc and a variety of percussion instrument from pakhwaz, khol, dhol, mandira to prem-jhhuri and kartaal.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><b><a href="http://www.dhakatribune.com/entertainment/2014/jul/10/global-outreach-baul-music-newer-voice-schools-and-instruments-specialisat" target="_blank">Link</a></b></span></div>
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Mac Haquehttp://www.blogger.com/profile/14042188545433901143noreply@blogger.com0tag:blogger.com,1999:blog-10576392.post-75063337237395133832014-07-09T10:30:00.000+06:002014-07-09T10:32:50.540+06:00From Akhara to Fusion - the transformation of Baul music in Bangladesh - Part 8<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Trebuchet MS, sans-serif;"><b>by Maqsoodul Haque<span class="Apple-tab-span" style="white-space: pre;"> </span></b></span></div>
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<span style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">8. From Akhara to Palli Geeti and Baul pretenders</span><br />
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<a href="http://www.dhakatribune.com/sites/default/files/imagecache/870x488_article_high/article/2014/07/09/Baul-Part-8---image-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://www.dhakatribune.com/sites/default/files/imagecache/870x488_article_high/article/2014/07/09/Baul-Part-8---image-1.jpg" height="356" width="640" /></a></div>
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<span style="color: #333333; font-family: Helvetica, Arial, sans-serif; font-size: x-small;"><span style="line-height: 20px;"><b><i>Inclusion of newer instruments and artist saw the Baul music genre getting enlarged</i></b></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The inclusion of newer instruments and artist saw the Baul music genre getting enlarged and well defined - engaging and captivating larger audience numbers across a very wide spectrum, as well as connecting urban listeners to their nostalgic roots. The trend led on to the creation of versatile musicians as well as performers not only enriched the form in a complex and highly competitive musical environment, it guaranteed Baul music’s survival for posterity. By late eighteenth century the invention of microphone and ‘Chonga mike’ (improvised bull horn speakers) and amplifications meant that by early 19th century, Baul music had effectively moved out of village Akharas to thanas and district towns and to urban city centers including Kolkata, with Dhaka emerging in importance much later.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">As a genre it was quickly lapped up in particular by aficionados who were not Bauls in any way but shilpis. These were vocal artists with no understanding about the deep spirituality associated with Baul music. Singing and performances by ‘shokher Baul’ i.e. Baul pretenders as they were condescendingly referred to by Shadhus and Fakirs have since times post the transition of Lalon been the bone of contentions and many a sore debates. Since Baul music was by now open source and available aplenty in the national heritage, so it was only natural that many artists as well as vested interest staked a claim. The debate around the times centered on why one has to undergo the rigor of Baul life just to be able to sing the songs of Lalon? The Shadus and Fakirs i.e. the legitimate stakeholder’s insisted that this was just not music but an ancient tradition, and wanted its authenticity retained under any circumstances.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The above debate continues as until today and it will be no error of judgment to state that the Sadhus and Fakirs arguments merit understanding and appreciation. For one, by 1920 Baul pretenders had in more ways than one usurped the tradition, and distortions became rampant and routine. Despite the many vagaries of the times, and the hazards advancements in technologies brings with it in society, the ancient Akhara institutions as this series of articles has repeatedly pointed, prevailed. It has painstakingly preserved and continues to nurture all aspects of Baul music. It is in recognition to the continuity of the tradition and maintaining consistent criteria’s both in music and spirituality, that on the 26th November, 2005, UNESCO is Paris, declared Baul Music as ‘’Masterpieces of the Oral and Intangible Heritage of Humanity’’.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">However historical records indicate that differences of opinion into holding on to Akhara authenticity started immediately after the transition of Lalon. Disputes raging for several years among disciples on possession of the Lalon Shrine in Seuria, greatly divided and weakened the Baul community. The important shift to assimilation of Baul music with Palli Geeti (general folk music) is believed to have been started in 1920 by Khoda Buksh Shah, Sr, who was a living, walking archive. He had consigned most of the estimated 1200 verses of Lalon into memory and was also a famed vocalist. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">His real talents however lay elsewhere. It was in his deep understanding of the class division in society and evolving a strategy as how best to ensure transmission of Lalon’s songs. He went on to perform yeomen service to our culture and ancient traditions.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Bauls have always been a marginalized and ostracized community given their unorthodox lifestyle and belief system, they challenged sensibilities of the dominant Kolkata based Brahmin and Muslim elite, who considered them no more than a ‘subordinate class of riffraff’s’. It was Khoda Buksh Shah Sr, who saw the strides folk music other than Baul was making among the elite and had become acceptable from fairs, to markets to the sitting rooms of the affluent. Buksh Sr, looked at working on a critical mix of talent, trend and evolving technologies, without in anyway compromising with the Akhara tradition. Baul music’s entrance into Bengali folk music was not an accident. It was an exercise in subterfuge, a planned and calculated interventionist maneuvering. ‘Fusion’ as we know it today became institutionalized in Baul music at this point. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><b><a href="http://www.dhakatribune.com/entertainment/2014/jul/09/akhara-palli-geeti-and-baul-pretenders" target="_blank">Link</a></b></span></div>
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Mac Haquehttp://www.blogger.com/profile/14042188545433901143noreply@blogger.com0tag:blogger.com,1999:blog-10576392.post-9325165078191315042014-07-08T10:53:00.002+06:002014-07-08T10:53:12.637+06:00From Akhara to Fusion - the transformation of Baul music in Bangladesh - Part 7<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Trebuchet MS, sans-serif;"><b>by Maqsoodul Haque</b></span></div>
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<a href="http://www.dhakatribune.com/sites/default/files/imagecache/870x488_article_high/article/2014/07/08/12-A-Baul-with-an-Ektaara-and-Baya-has-since-remained-the-most-enduring-image-in-the-media-Ershadul-Haque-Tinku_0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://www.dhakatribune.com/sites/default/files/imagecache/870x488_article_high/article/2014/07/08/12-A-Baul-with-an-Ektaara-and-Baya-has-since-remained-the-most-enduring-image-in-the-media-Ershadul-Haque-Tinku_0.jpg" height="356" width="640" /></a></div>
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<span style="font-family: 'Trebuchet MS', sans-serif;"><b><span style="font-size: x-small;"><i>A Baul with an Ektaara and Baya has since remained the most enduring image in the media</i></span>.</b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: large;">7. From Akhara to mainstream – use of new musical instruments in Baul musi</span>c</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Historical records suggest that the Ektaara a single stringed lute was the only musical instruments used inside Akhara premises from the times of Lalon and that tradition continues in many cases even today. The simple yet highly sophisticated instrument when played in accompaniment is believed to convey ‘secret instructions’ by Lalon, decipherable only to adept Bauls, who will therefore never deviate from the same. Baul music in its earliest forms was not based on any complex raga of the Indian classical tradition, nor were any taal, beat or accompaniment instruments used. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Nonetheless while evolving as a musical genre during the times of Lalon, there is no denying that many tunes or ‘soor’ of the times were used and they were based on existing Murshidi, Marfati or other popular Sufi genres, as much as Kirtans and Bhajans from the Vaishnavites. Baul tunes have similarities with folk music from such far off places such as Kazakhstan, Turkmenistan, Persia, Turkey and Iraq, even with complex ones from Carnatic music traditions. As an independent genre it became recognized over time and after many musical elements, motifs and forms mixed and gave it the complete shape that we hear today. Baul music has traditionally fused with newer trends and ideas.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Rusticity coupled with simplicity of the music, was the pre-eminent beauty of Baul music, which remained strictly confined to Akhara centric Shadhus and Fakirs who had no aspirations to become professional singers. Over time this became a problematic aspect in the spread of Baul music, because all too often singing was off key, as basic tuning methodologies were not understood. Also within Akharas, no one much cared, as how one sang or how instruments sounded as long as the messages within the songs were decipherable. These idiosyncrasies in fact added up in creating the Baul music genre which was exceptional and unique. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Emphasized within the Akharas as far as approaches to musical instruments are concerned, there has not been a marked shift to the earliest standard fare even to this day. Staying true to ancient traditions Bauls sing live and without microphones or amplifications of any kind in open air concerts. It is therefore not unusual that many Bauls acquired distinctive vocal skills with high pitch rendition of songs that reaches out to hundreds of assembled listeners. With the general acceptability and popularity of Baul music over the years, saw the incorporation of several instruments to join in as accompaniment. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">It was in fact about 2 decades after the transition of Lalon, that Baya or small drum slung to the waist and played with the left hand was included into Baul music. A Baul with an Ektaara and Baya has since remained the most enduring image in the media. Many even strapped a Payel or Ghungroo (small bells) to their ankles to improvise and create rhythm. Baul repertoire moved on the same principals applied by ‘one man bands’ with minimalism in everything from what they wear to the instruments they play being part and parcel not only of their music, but also their belief system. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Initially it was the bamboo flute and the 4 stringed Dotaara, then progressively rhythm instruments such as the mandira, khartaal and jhuri, wooden castanets, later drums such as dhol, khol, naal as much as pakwaz made their steady entry. The Vaishnavite and Sufi influences in Baul music meant that many instrument favored by the Mughals and other aristocratic and feudal classes such as the Serangi, Shehnai, Santoor, tabla, tanpura, Chimta, Khamak as well as harmonium and Sitars made their inroads and sooner than not, became an integral part of Baul music. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The inclusion of various instruments into Baul music were never imposed, but the need and demands of times, because while the music practiced and pursued in the Akhara institution was the base parameters set by the stakeholders themselves, it was gradually moving out of the Akharas and gaining mainstream acceptability. Since Bauls never believed in any prescribed musical forms nor were they ever dogmatic or puritanical in matters of what instruments can or or cannot be used, incorporation of newer instruments and trends thus became inevitable.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><b><a href="http://www.dhakatribune.com/entertainment/2014/jul/08/incorporation-new-musical-instruments-baul-music" target="_blank">Link</a></b></span></div>
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Mac Haquehttp://www.blogger.com/profile/14042188545433901143noreply@blogger.com0tag:blogger.com,1999:blog-10576392.post-51403267521901999502014-07-07T02:17:00.004+06:002014-07-07T02:39:54.924+06:00 From Akhara to Fusion - the transformation of Baul music in Bangladesh - Part 6<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Trebuchet MS, sans-serif;"><b>by Maqsoodul Haque</b></span></div>
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<a href="http://www.dhakatribune.com/sites/default/files/imagecache/870x488_article_high/article/2014/07/07/12-Shadhu-Guru-Darbesh-Hossain-Ali-Shah-confers-with-disciples-in-a-late-night-conclave-at-his-Akhra-in-Sonagari,-Chguadanga_0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://www.dhakatribune.com/sites/default/files/imagecache/870x488_article_high/article/2014/07/07/12-Shadhu-Guru-Darbesh-Hossain-Ali-Shah-confers-with-disciples-in-a-late-night-conclave-at-his-Akhra-in-Sonagari,-Chguadanga_0.jpg" height="358" width="640" /></a></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-small;"><b><i>Shadhu Guru Darbesh Hossain Ali Shah (left) confers with his disciples during a Shadhu Shongo at Sonagari, Chuadanga</i></b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b>6. The Guru among Bauls and their transmission chart, music and messages</b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Gurus follow a hagiographical transmission chart called Shirzanaama where they can track back their spiritual lineage i.e. his own Guru and one before him and so forth, dating hundreds of years in most cases. For instance among followers of Lalon there exist 7 clear shiris or ‘spiritual transmission ladder’ comprising living descendants of his disciples i.) Panju Shah ii.) Duddu Shah iii.) Hiroo Shah iv.) Deyal Shah v.) Delwar Shah and families of vi. ) Sothi Maa poribar and vii.) Chowdhury poribar as well as a controversial and little understood chain that many Bauls claim - is that of Fakir Lalon Shah himself.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">There are different kinds of Gurus among Bauls with the all important Diksha Guru who renders exoteric spiritual training to disciples, then the Shikkha Guru, who more or less fills in the role of an educationist, sometimes explaining them on modern parameters and paradigms, followed by the Gaaner Guru who is a music teacher. There is also the Onupreronar Guru or inspirational Gurus who does not hold any rigid mantles of a Guru, but one who inspires disciples into the Baul path. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">In the times gone by when formal education was not known in our part of the world and the culture was oral, it was the traditional institution of imparting ‘lip to ear wisdom’ - meaning not all that’s transpires between a Guru and Shishwa is for public consumption, remained the mainstay for the growth of the institution. Secrecy about music and spirituality has always been the key point among Bauls and follows the ancient epigram, ‘pour only so much that the cup can hold’. It meant mere obeisance to the Guru was not always the parameter for judgment and the prerogative lay with the Gurus to decide if a seeker or disciple had the mental or spiritual temerity to pass on and spread the vital coded messages that have come for humanity. A seeker had to prove he/she was qualified for the task in hand, and rigid process of examination and scrutiny continues until today.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">About the messages in Baul songs, musicologist Dr. Karunamaya Goswami explains <i>‘’Baul songs always carry a double meaning, the outward meaning guarding the inner sense, and this double entendre was known as ‘sandha vachana’ i.e. code language. The outward meaning of the songs has indeed a literary flavor, for the songs really follow a traditional pattern, but the outward sense was intended only to disguise the inner meaning which recorded the mystic practice, experience and emotion of the masters in their process of self-realization.’’</i></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The Akhara institutions take, when it comes to music is interesting as well as exemplary. Different regions in Bangladesh have their respective traditions of rendering songs. For instance there is a noticeable difference in tones, tonalities and even tunes in how Lalon’s songs are rendered in Kushtia Akharas as opposed to neighboring Chuadanga. Likewise all the way from Harinakundu in Jessore to Manikganj and Munshiganj in Dhaka, the style, intonations, ambience and presentation of verses are markedly different. Baul songs as practiced in Bangladesh are also in many cases vastly dissimilar to those of West Bengal in India. Yet there are seldom any disputes on the matter. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">At most, any variations or mistakes in the words or lyrics may be quickly pointed out and corrected if there is common agreement via the institution of bahas (intervention, debates, enquiry), else they are accepted and may continue as has been practiced in a particular region with not so much as an eyebrow raised. What is of prime importance more than the tune or rendition methodologies are that the messages embedded and encoded within the verses remain undiluted and coherent. The practice of intervention for correction remains confined to the verses in question which in turn explains that Baul music never set any rigid standards or instructions about performance modes and they were left to grounded subtleties of each region, as also the peculiarities of individual performer’s nuances and their voice quality. Puritanism of any kind has always been shunned by Bauls.</span></div>
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<b><a href="http://www.dhakatribune.com/entertainment/2014/jul/07/guru-among-bauls-and-their-transmission-chart-music-and-messages" target="_blank"><span style="font-family: Trebuchet MS, sans-serif;">Link</span></a></b></div>
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Mac Haquehttp://www.blogger.com/profile/14042188545433901143noreply@blogger.com0tag:blogger.com,1999:blog-10576392.post-60900391875021511352014-07-06T02:08:00.000+06:002014-07-07T02:40:43.764+06:00From Akhara to Fusion - the transformation of Baul music in Bangladesh - Part 5<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Trebuchet MS, sans-serif;"><b>by Maqsoodul Haque</b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b>5. The Shadhu Shongo institutions - Guru -Shishwa interactions and Sheba</b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Shadhu Shongo’s the second most important institution for Bauls are regular conclaves or assembly of the wise i.e. masters in music, spirituality as well as day to day social matters of common concern. Scriptural discourses sets the tone of each Shongo and they can last anywhere from three to seven days, depending on the weather, circumstances or overall socio-political-cultural situation prevailing at any time. Discourses and singing goes on non-stop, and Bauls irrespective of caste, creed, religion or sex live and eat communally during the period of the Shongo. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">It is therefore easy to surmise that up to three Shadu Shongo are held every day somewhere or the other in rural Bangladesh and unlike other ‘cultures’ that are tokenistic or revolves around peripheral ‘cultural activism’, Baul music and the culture associated is organic i.e. one that has to be lived and practiced as a lifestyle statement. Other than the assembly of various Shadhu Gurus (the eldest Shadhu denoting practitioner, derived from the word Shadhona), these events sees different schools of Bauls congregating and passionately discussing tunes and tones of Baul music, as well as the inherent and esoteric meanings of verses which are reverently referred to as pod or kalaam. </span></div>
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<a href="http://www.dhakatribune.com/sites/default/files/imagecache/870x488_article_high/article/2014/07/06/12-A-Baul-Shadhu-Shongho-at-the-Akhara-of-Fakir-Sattar-Shah-in-Sauntha,-Kushtia-Ershadul-Haque-Tinku.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://www.dhakatribune.com/sites/default/files/imagecache/870x488_article_high/article/2014/07/06/12-A-Baul-Shadhu-Shongho-at-the-Akhara-of-Fakir-Sattar-Shah-in-Sauntha,-Kushtia-Ershadul-Haque-Tinku.jpg" /></a></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-small;"><b><i>A Baul Shadhu Shongho at the Akhra of Fakir Sattar Shah in Sauntha, Kushtia</i></b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The Guru holds very special importance among the Bauls for they are literally considered ‘God heads’ or fountains of knowledge from which spirituality and music flows. Each Guru holds a Shongo every year and in many cases a a second one, commemorating the death of his own Guru. It is estimated that at least 1000 small, medium to large Shongo are held every year in Bangladesh, with the one centering Fakir Lalon Shah, held in Seuria, Kushtia in the Bangla month of Choitro (March) and Kartick (October) being the largest by far. It is very rarely that a Guru leaves his ashon (assigned seat) during the course of a Shongo so that no shishwa or disciple misses the chance to hear the Gurus speak and their interpretation of verses and scriptures in question. This in essence reinforces Guru-Shishwa parampara, or interaction, which is a continuously evolving non-traditional educational process.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Other than music, spirituality and quest for knowledge, the Shadhu Shongo institute consciously emphasizes on ‘Sheba’ - the rites of food which is a pivotal demonstration of the Baul lifestyle. Nothing is more sacred to the Bauls than food, for ultimately it is a gift from the Creator. ‘Sheba’ as the word denotes is a voluntary offering i.e., service to humanity and one every human on the planet by providence holds collective responsibility. Food therefore is not ‘eaten’ but shared equally. Sharing food and consuming food are both acts of God – and more profoundly as Bauls believe that God dwells inside each human soul, we feed the ‘God in us’, not necessarily ourselves. Thus why, when and with whom food is shared is in itself a meditative process and one that has survived centuries as the rite of food is so meticulously understood and observed scrupulously.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Bauls have a vegetarian diet and the only ‘meat’ they consume is that of fish. Cooking is done in a communal kitchen with no fossil fuel (kerosene or gas) but firewood. There are three specific Sheba : i.) Guru Sheba – dinner, which takes place usually post midnight at the end of a Shongo, ii.) Balya Sheba – breakfast where children are fed first and whatever else is left, is shared by adults iii.) Punyo Sheba – lunch, Shadhu Shongo usually ends at after this particular Sheba and everybody leaves the venue in a state of ‘Punyota’, or complete blessing from the Guru. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">From the pot to eating bowl, everything is served fresh, and none is supposed to even taste it (even to check salt) before it is served. Each and every seeker has to squat on the floor while is served equally – yet not eaten right away. It is after a signal from the Shadu Guru that the rite commences and everybody starts eating. At the end of Sheba, hands are washed communally and again, only on signal from the presiding Guru, does it end and everyone is allowed to leave.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><b><a href="http://www.dhakatribune.com/entertainment/2014/jul/06/shadhu-shongo-institutions-guru-shishwa-interactions-and-sheba" target="_blank">Link</a></b></span></div>
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Mac Haquehttp://www.blogger.com/profile/14042188545433901143noreply@blogger.com0tag:blogger.com,1999:blog-10576392.post-32514618560151550492014-07-05T02:01:00.000+06:002014-07-08T11:09:19.865+06:00From Akhara to Fusion - the transformation of Baul music in Bangladesh - Part 4<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Trebuchet MS, sans-serif;"><b>by Maqsoodul Haque</b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b>4. The informal Akhara Curriculum – Gaan and Gyan</b></span></div>
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<a href="http://www.dhakatribune.com/sites/default/files/imagecache/170x96_child_section/article/thumb/2014/07/05/12--A-Shadhu-at-the-Shrine-of-Fakir-Lalon-Shah.-.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://www.dhakatribune.com/sites/default/files/imagecache/170x96_child_section/article/thumb/2014/07/05/12--A-Shadhu-at-the-Shrine-of-Fakir-Lalon-Shah.-.jpg" height="361" width="640" /></a></div>
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<span style="font-family: 'Trebuchet MS', sans-serif; font-size: x-small; text-align: left;"><b><i>A Shadhu at the Shrine of Fakir Lalon Shah, Seuria, Kushtia</i></b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Baul music is simply not gaan or music, but also a convergence of gyaan or knowledge. This is 18th century ‘rural info-taintment’ if we may that has survived until today. During the times of Fakir Lalon Shah an informal Akhara curriculum was advanced which had as its basis 4 specific ‘stations’ termed Chotur desh, or phases which seekers on the Baul path will encounter. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">They are – </span><span style="font-family: 'Trebuchet MS', sans-serif;">i.) Sthulo desh – novice, mundane, ordinary, common phases, </span><span style="font-family: 'Trebuchet MS', sans-serif;">ii.) Proborto desh - transitory, apprentice phases, </span><span style="font-family: 'Trebuchet MS', sans-serif;">iii.) Shadhok desh - perfected seekers, recognised, practitioner, </span><span style="font-family: 'Trebuchet MS', sans-serif;">and the penultimate - </span><span style="font-family: 'Trebuchet MS', sans-serif;">iv.) Shiddhi desh - one who has reached the height of self realization. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Within this broad classification of phases, further subdivision was necessitated for a variety of reasons; </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">a.) there were 14 different subgroups within each of the original 4 stations, meaning theoretically the works of Lalon could be interpreted into 56 different sub-categories </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">b.) Lalon like other Sages of Bengal preceding him was influenced by enumerationist Samkhya philosophy of Sage Kapila (5th to 2nd Century BCE), who advanced 25 Tottyo or discourse principals </span><span style="font-family: 'Trebuchet MS', sans-serif;">and </span></div>
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<span style="font-family: 'Trebuchet MS', sans-serif;">c.) Lalon was conversant with the 4 Sufi Maqaam or stations i.e. i.) Shariyat – origins, base, the path to the well, ii.) Haqiqat - Supreme Truth, reality check, iii.) Tariqat - differing ways and orders and iv.) Ma’arifat - Gnosis, God realization, the state of extelligence i.e. beyond intelligence. </span></div>
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<span style="font-family: 'Trebuchet MS', sans-serif;">So as to make it simpler and accommodate major Vaishnavite, Sufi, Sahajiya Buddhist philosophies, 8 easily identifiable sub-groups or categories were also included into the 4 stations regime. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">They are the Tri Tottyobaad which covered Sufi aspects of i.) Noor Tottyo - discourses on light, enlightenment ii.) Nabi Tottyo - discourses on the Messengers iii.) Rasul Tottyo - discourses on Prophets. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Vaishnavite and Sahajiya Buddhist philosophies were grouped under Pancha Leela or five Pandeist course of willful acceptance i.e. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">i.) Krishna Leela - Lord Krishna’s life story, </span><span style="font-family: 'Trebuchet MS', sans-serif;">ii.) Goishto Leela - cowherd’s music signifying Krishna’s boyhood tryst with Gopis, moral lessons, </span><span style="font-family: 'Trebuchet MS', sans-serif;">iii.) Nimai Leela – discourses on Chaitanya Mahaprabhu, reincarnation of Krishna, </span><span style="font-family: 'Trebuchet MS', sans-serif;">iv.) Gour Leela – Gaudiya Vaishnavism, discourses on Gouranga, another name for Krishna in Puranic scriptures, </span><span style="font-family: 'Trebuchet MS', sans-serif;">v.) Nitai Leela –discourses on the omnipotent, ‘timeless supreme’, one who has no birth or death.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Historical records also suggest, there were several significant seats of learning called khadis or ashon for transmission of Baul music and philosophy with their own resident Gurus in geographically defined locales. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">They were: i.) Pachu Shah in Gholdhari, Chuadanga ii.) Mochai Shai in Abdalpur, Kushtia, iii.) Gorib Shah in Sabdalpur, Jessore iv.) Choudhor Shah in Kodaliya, Meherpur v.) Shukur Shah in Alamdanga, Chuadanga, vi.) Kanai Shah and Bholai Shah in Chotropara, Jhenaidah, viii.) Ujal Shah in Jhaudia, Jessore ix.) Iman Shah in Moheshganj, Meherpur x.) Shaker Shah in Choraigram, Kushtia xi.) Tinkori Shah in Bittipara, Kushtia and xii.) Nengta Shah in Nischintapur.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The all inclusive, yet intense curriculums as well as the existence of transmission centers indicate the high musical and stringent spiritual standards practiced by Bauls since Lalon’s time as until today. Clearly Baul is just not a music form, but an organic sophisticated lifestyle statement which is scientific, and forward looking. The art form survives until present times due to the seriousness its practitioners emphasize on the esoteric messages of Fakir Lalon Shah for humanity, that has reverberated all across Bengal for centuries and as is evident now, reached a global audience.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><b><a href="http://www.dhakatribune.com/baul/2014/jul/05/informal-akhra-curriculum-%E2%80%93-gaan-and-gyan" target="_blank">Link</a></b></span></div>
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Mac Haquehttp://www.blogger.com/profile/14042188545433901143noreply@blogger.com0tag:blogger.com,1999:blog-10576392.post-71998258054223663602014-07-04T01:50:00.000+06:002014-07-07T02:41:31.846+06:00From Akhara to Fusion - the transformation of Baul music in Bangladesh - Part 3<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: Trebuchet MS, sans-serif;"><b>by Maqsoodul Haque</b></span><br />
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b>3. The first fusions of faith, belief and music – the Vaishnavites and Sufis</b></span></div>
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<a href="http://www.dhakatribune.com/sites/default/files/imagecache/870x488_article_high/article/2014/07/04/12-Bauls-from-a-Sufi-Chistiya-order--perform-at-the-Shrine-of-Fakir-Lalon-Shah-in-Seuria,-Kushtia--Ershadul-Haque-Tinku_0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://www.dhakatribune.com/sites/default/files/imagecache/870x488_article_high/article/2014/07/04/12-Bauls-from-a-Sufi-Chistiya-order--perform-at-the-Shrine-of-Fakir-Lalon-Shah-in-Seuria,-Kushtia--Ershadul-Haque-Tinku_0.jpg" height="358" width="640" /></a></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: x-small;"><b><i>Bauls from a Sufi Chistiya order perform at the shrine of Fakir Lalon Shah in Seuria, Kushtia</i></b></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The timing of the Vaishnavite influenced Bhakti movement was unique in our history for it coalesced favorably with the then inroads of Sufi tarikats (orders) i.e. Qaderiya, Chistiya, Naqsbandiya, and Mujadedia from Turkey, Iraq and Persia into India. Both Sufi and Vaishnavite doctrines propounded more or less the same principals of belief. The reasons for Sufi success and acceptance in India were attributed to similarities with those of the Bhakti exponents. The earliest of Muslim invaders to India had made Islam a puritanical, intolerant and highly tyrannical religion, which was challenged, chastised and its influence was already waning. In Bengal by the late 17th century Akharas strengthened and emerged as benign institutions were peace, moderation and Bengals tradition of communal harmony, non-sectarianism, secularism and importantly humanism were propounded and established firm roots in our culture. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Both traditions discovered a lot of similarities in their thoughts, beliefs and practices, which led to easier understanding of the other and cemented the bonds for their assimilation into our cultures. Cohesion and acculturation became the order of the times. For instance what was Akhara for the Vaishnavites was likewise the Khanka institution for the Sufis, with both insisting on values of discipline and regimentation with music the ultimate ‘weapon of choice’ used in spreading the message of Sages, Saints and Poets. Both traditions established the primacy of a Sage or Saint termed Guru among Vaishnavites, which in the Sufi parlance was Murshed. They were preceptors and able elders who would take pain in guiding seekers and disciples in fomenting peaceful coexistence and to dedicate their lives for toiling humanity. This was also the time that devotional literature, music and various fine arts forms developed very rapidly. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">As the cultures coalesced, enriched and became dynamic, two specifically problematic aspects surfaced in the study and appreciation of Baul Music. Firstly ancient tracts, treatise and music of Shahajiya, Kartabhajas, Shaheb Dhoni, Balahari, Ponchoshokhi, Nath, etc and other sub-groups who are thought to be original stakeholder to Baul practices became rare and are limited today to small pockets in West Bengal, India - quite possibly on the verge of extinction. On the other hand, many traditional musical forms of the time having both Vaishnavite and Sufi overtones entered mainstream by piggybacking on Baul music given its success and wide acceptability. That being the case even Boyatis or practitioners of Kobi gaan or many traditional Kirtan and Bhajan artist as of now claim to be Bauls, which theoretically they are not.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><b><a href="http://www.dhakatribune.com/entertainment/2014/jul/04/first-fusions-faith-belief-and-music-%E2%80%93-vaishnavites-and-sufis" target="_blank">Link</a></b></span></div>
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Mac Haquehttp://www.blogger.com/profile/14042188545433901143noreply@blogger.com0tag:blogger.com,1999:blog-10576392.post-56789935915177232102014-07-03T01:43:00.000+06:002014-07-07T02:41:55.428+06:00From Akhara to Fusion - the transformation of Baul music in Bangladesh - Part 2<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Trebuchet MS, sans-serif;"><b>by Maqsoodul Haque</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLBgcIp1-G3AF4z1acjW_3holmUU3CyQyx_VJy3j3U-ZcdKeRF2_k1CqTRxxOAb4waAlASBL6sAxs6A187LEQphyOF7pG9v6xfOiBOPFPQ8b7iY80wkFonZK52Pt1HneFWSPm_uw/s1600/Baul+Image+1+Part+2+(1).JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLBgcIp1-G3AF4z1acjW_3holmUU3CyQyx_VJy3j3U-ZcdKeRF2_k1CqTRxxOAb4waAlASBL6sAxs6A187LEQphyOF7pG9v6xfOiBOPFPQ8b7iY80wkFonZK52Pt1HneFWSPm_uw/s1600/Baul+Image+1+Part+2+(1).JPG" height="201" width="640" /></a></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-small;"><i><b>A typical Baul Akhara in Sonagari, Chuadanga</b></i></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b>2. The Akhara institution and it importance in Baul Music</b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The ancient word Akhara denotes ‘regimentation’ or a place of practice with facilities for board, lodging and education used by religious renunciates. As an institution it dates back to the 8th century and its purported founder Sage Adi Shankara or Shankarcharya (788–820). The 8th century was significant in other aspects as well. It saw the commencement of the unorthodox Bhakti Movement in Tamil Nadu, India - a spiritual revolt against caste discrimination among Sanatana Hindus which challenged grounded and stern Brahmin doctrines. Bhakti insisted that salvation is achievable by all and does not require an advantage of birth as also, that the concept of blood lineage was abusive and exploitative. Bhakti taught people that they could cast aside the heavy burdens of rituals, caste and complexities of philosophies, and simply express their overwhelming love for God in the spirit of humanity. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">By late 14th Century the movement gained momentum and spread to Bengal with Shri Chaitanya Mahaprabhu (1486–1534) the scion of the Vashnavite movement as well as his disciple and close friend Nityananda (or Nitai) jointly spearheading the spiritual revolt that laid foundation for aspirations against religious bigotry, dogma, caste, creed, exploitation and subjugation of any kind. The Nadiya district of undivided Bengal in India, of which modern day Kushtia, Meherpur, Jessore, Chaudanga etc in Bangladesh were then an integral part, was the epicenter of this cultural renaissance, historically referred to as the ‘’Golden Age’’ of Bengal.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Music was and still is the forte of Akharas and together with subjective discourses which were just not limited to ‘spiritual education’ as is the popular misconception; profound subjects such as philosophy, history, social sciences, ethics, aesthetics, mathematics, logics were included. More complex disciplines such as cosmology, ecology, agriculture, pharmacology and in the case of Deho Tattya (discourses on the human body) physiology, psychology even embryology as well as the ancient art of Yoga were taught through music, in what was essentially an oral culture.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The overriding aspect of the Akhara institution is it has traditionally survived on contributions of communities, and unlike Ashrams is informal with no fixed sets of seekers residing for years on end. During those bleak times in our history when villages were the root of our existence and society, by and large rural and arguably ‘primitive’, Baul Akharas provided a very valuable spiritual and social service. We may therefore credit the Akharas institution as one of the prime and fundamental reason for Baul music’s survival into the new millennium. </span></div>
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<b><a href="http://www.dhakatribune.com/entertainment/2014/jul/03/akhara-institution-and-it%E2%80%99s-importance-baul-music" target="_blank"><span style="font-family: Trebuchet MS, sans-serif;"> Link</span></a></b></div>
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Mac Haquehttp://www.blogger.com/profile/14042188545433901143noreply@blogger.com0tag:blogger.com,1999:blog-10576392.post-60729530038160505882014-07-02T01:35:00.000+06:002014-07-07T02:42:20.495+06:00From Akhara to Fusion - the transformation of Baul music in Bangladesh - Part 1<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: Trebuchet MS, sans-serif;"><b>by Maqsoodul Haque</b></span><br />
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b>1. Historical evolution of Baul Music</b></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Baul music has come of age. It has been over 124 years since the transition of the Sage Fakir Lalon Shah (circa 1774-1890). If the 116 years he is thought to have lived and the 75 years timeframe in which the corpus of his works were composed are used as reference points, Baul music as we know it in Bangladesh is nearing 200 years as a musical art form. While Lalon is considered central in the study of Baul music and its associated philosophies, Bauls however predate him by several centuries.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The word ’Baul’ first appeared in Bengali text around the 15th century, and over time became a recognized and popular musical genre. However in reality it remains a generic term that has often by default incorporated exponents of existing traditional forms i.e. Moromi Gaan or ‘mystical music’ such as Murshidi, Marefoti, Boyati, Jari, Shari etc which continue to influence our culture and are easily identified by the masses. Nonetheless the power of poesy of the rustic bards sets the art form as an epochal landmark in the cultural heritage of Bangladesh. It is the overall literary value of the works, the philosophy and spirituality in the unique music, together with the Bauls emphasis on living life in closest proximity with nature’s climactic cycles, cosmology, their food habits, social rites and rituals, spirit of tolerance and secularism makes it one of our most phenomenal cultural component.</span></div>
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<a href="http://www.dhakatribune.com/sites/default/files/imagecache/870x488_article_high/article/2014/07/02/Baul-Part-1-Image-2_0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://www.dhakatribune.com/sites/default/files/imagecache/870x488_article_high/article/2014/07/02/Baul-Part-1-Image-2_0.jpg" height="358" width="640" /></a></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-small;"><i><b> A Baul performing at the Akhara of Fakir Lalon Shah in Seuria, Kushtia</b></i></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Bangladesh is a blessed land when it comes to musical forms. It is estimated that until 200 years ago there were over 500 musical forms in circulation within our rural heritage, where the majority of our population then, as even today live and make their existence. With passage of time, prompted by increased urbanization, economic and social changes and our steady disconnect with rural communities; today we have about 200 musical forms still in existence. Less known among them yet popular are the following gaans or musical forms: Panchali, Ashtok, Halue, Alkap, Ghetu, Royani, Vashan, Pot, Kobi, Torja, Korocha, Dhamail, Gombhira, Shong, Vadu etc. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><b><a href="http://www.dhakatribune.com/entertainment/2014/jul/02/historical-evolution-baul-music" target="_blank">Link</a></b></span></div>
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Mac Haquehttp://www.blogger.com/profile/14042188545433901143noreply@blogger.com0tag:blogger.com,1999:blog-10576392.post-48132608601296588752014-04-10T14:29:00.002+06:002014-04-10T14:34:15.054+06:00Fakir Lalon Shah : On the unseen bird<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Verdana, sans-serif;"><b><i>কী এক অচিন পাখি পুষলাম খাঁচায় /হলো না জনম ভরে তার পরিচয় ||</i></b></span><br />
<span style="font-family: Verdana, sans-serif;">What an unseen bird have I reared in my cage/ Spent a lifetime yet know not who it is.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b><i>আঁখির কনে পাখির বাসা /দেখতে নারে কী তামাশা </i></b></span><br />
<span style="font-family: Verdana, sans-serif;">The bird nest is in the edge of my eyes, yet I can’t see it, what a joke...</span><br />
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<span style="font-family: Verdana, sans-serif;"><b><i>আমার এই আন্ধেলা দশা /কে আর ঘুচায় ||</i></b></span><br />
<span style="font-family: Verdana, sans-serif;">Who is it that will remove my sheer blindness</span><br />
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<span style="font-family: Verdana, sans-serif;"><b><i>পাখি রাম রহিম বুলি বলে /ধরে সেই অনন্ত লীলে</i></b></span><br />
<span style="font-family: Verdana, sans-serif;">The bird utters the name of Ram, Rahim and sacred scripts/ says endless things about formless tryst of times</span><br />
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<span style="font-family: Verdana, sans-serif;"><b><i>বল তাঁরে কে চিনিলে/বল গো নিশ্চয় || </i></b></span><br />
<span style="font-family: Verdana, sans-serif;">Do tell me if you know about the bird/ please do for sure</span><br />
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<span style="font-family: Verdana, sans-serif;"><b><i>যারে সাথে লয়ে ফিরি/তারে বা কি চিনতে পারি</i></b></span><br />
<span style="font-family: Verdana, sans-serif;">The one that I carry with me, do I really know what it is</span><br />
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<span style="font-family: Verdana, sans-serif;"><b><i>লালন কয় অধর ধরি/কী রূপধজ্জায় ||</i></b></span><br />
<span style="font-family: Verdana, sans-serif;">Lalon says the formless hands/are sheathed in a beauty of deceit.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>সাধক দেশ পাঠ : ফকির লালন শাহ </b></span></div>
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<span style="font-family: Verdana, sans-serif;">Work of Fakir Lalon Shah - translated by Mac Haque, 10th April 2014</span></div>
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Mac Haquehttp://www.blogger.com/profile/14042188545433901143noreply@blogger.com0tag:blogger.com,1999:blog-10576392.post-65390670879942061162014-04-02T00:33:00.001+06:002014-04-03T01:03:02.205+06:00'The Road to Bauliana' Video Documentation project - Shrine of Fakir Lalon Shah at Seuria, Kushtia during Dol Purnima Utshob - 15-17th March 2014<div dir="ltr" style="text-align: left;" trbidi="on">
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Mac Haquehttp://www.blogger.com/profile/14042188545433901143noreply@blogger.com0tag:blogger.com,1999:blog-10576392.post-40578254211449291642014-04-01T22:21:00.003+06:002014-04-01T23:08:15.085+06:00'The Road to Bauliana' Video Documentation Project - Shahdu Shongo at Dhekipara Sautha Village, Kushtia 14th March 2014<div dir="ltr" style="text-align: left;" trbidi="on">
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Mac Haquehttp://www.blogger.com/profile/14042188545433901143noreply@blogger.com0tag:blogger.com,1999:blog-10576392.post-14651123071554484602013-12-10T13:48:00.001+06:002013-12-10T13:57:15.825+06:00 Abirbhaab/Tirodhan - esoteric words in Bauliana and their meanings<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><span style="font-family: Verdana, sans-serif;"><span class="GINGER_SOFTWARE_mark" ginger_software_uiphraseguid="ed0229ed-e653-47ed-80ef-623fe37b966c" id="6863b6ef-210f-4d04-a485-7bd476d70fb7">by</span> Mac Haque</span></b></div>
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<span style="font-family: Verdana, sans-serif;"><b><span class="GINGER_SOFTWARE_mark" ginger_software_uiphraseguid="8ae7b11e-18c5-4fe3-8729-c8f5db6a2cbd" id="b0fd9b60-a978-4ac3-99a8-f663ff47722b">Abirbhaab</span>/Tirodhan </b>: the closest English translation we can come up with is 'evolution' and 'transition' - and are used essentially to replace the notion of 'birth' and 'death'. Since there is no verifiable evidence that birth is at all the 'beginning' of anything or death the 'end' of something - the terms are used to emphasize the basis of our being. <b><span class="GINGER_SOFTWARE_mark" ginger_software_uiphraseguid="ded98019-3e35-4a69-988c-bde67be3d443" id="739fdbea-d684-4909-864a-7a8805815e3c">Abirbhaab</span> </b>is therefore not an accident nor is <b>Tirodhan </b>an aberration. It is the continuity of the cycle of mother nature we call 'life' and we just by some freak accident happen to be a part of it. </span></div>
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<span style="font-family: Verdana, sans-serif;">As natural creatures we evolved in the course of natures time and will make our transition again at a time NOT set by us, but as mother nature decides. That in itself is what we call 'nature's nature'. In our 'coming and going' the purpose of our life is of paramount concern to us as nothing else sets us apart from other natural creatures. In this pompous business of the '<b>Ashraful Maklukat</b>' it is our duty to connect to the 'invisible being' within us - else life is a disjointed journey we may have embarked upon with neither our origin or destination known, or of any consequence to us. </span></div>
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<span style="font-family: Verdana, sans-serif;">If there is at all a '<b><span class="GINGER_SOFTWARE_mark" ginger_software_uiphraseguid="4a3e0ff5-4f61-4229-9f85-84e4fc569fa6" id="582d8b86-76fd-4c98-a083-77b96afe0c94">Pul</span> </b><b>Sirat'</b>, the 'bridge to take us across' - we usually meditate upon 'either banks' of the vast unknown/uncharted river/ocean of <span class="GINGER_SOFTWARE_mark" ginger_software_uiphraseguid="4a3e0ff5-4f61-4229-9f85-84e4fc569fa6" id="3a66a89a-a3f5-4c00-9a2f-bbe70cf66d97">expanse</span>, when we may not have even started the journey or ended it - without our even knowing. In all probability we may neither be 'here nor there' - and like 'truth' as a belief is something which is usually somewhere 'in-between' - we may be walking on the bridge right now!</span></div>
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<span style="font-family: Verdana, sans-serif;"><span class="GINGER_SOFTWARE_mark" ginger_software_uiphraseguid="39ab1628-1214-4b0e-b33b-24e4a7269a99" id="fdbfc0c0-0e21-4a64-b5c7-a165599aa228">Bauliana</span> quite plainly is an 'in-between' existence. In between 'evolution/transition' we do not necessarily transform - but transmute. Our transformation comes about through verifiable evidence, in our hairs receding and graying, our faces and bodies aging, in our expanding or contracting mid sections - indeed in anything we call 'aging gracefully'. </span></div>
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<span style="font-family: Verdana, sans-serif;">These are transformations - but transmutation comes from what our inner receptor, the unending containers and vessels we store within our physical beings and how they handle those transformations is how transmutations within us happen - and we evolve from beings to <b>'Insaan e Kamel'</b> to '<b>Wali Allah</b>'. There are again no verifiable yardsticks by which we can measure those 'achievements' within us. </span></div>
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<span style="font-family: Verdana, sans-serif;">Like <b>Gil Scott Heron</b> said <i>'life inevitably translates into time, that's why we call it a lifetime'</i> . A lifetime again is just not enough to know who we are - unless we are proven wrong?</span></div>
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<span style="font-family: Verdana, sans-serif;">Joy Guru Alek Shai _/\_ </span></div>
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Mac Haquehttp://www.blogger.com/profile/14042188545433901143noreply@blogger.com0tag:blogger.com,1999:blog-10576392.post-54485466628572544832013-10-06T10:00:00.000+06:002013-10-06T10:06:10.727+06:00Facebook Discussion: Does the Qu'ran have specific verse/s on slaughtering animals EVERY YEAR?<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Trebuchet MS, sans-serif;"><b><span style="color: red;">Mac Haque:</span></b> 4 October near Dhaka</span></blockquote>
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<span style="font-family: Trebuchet MS, sans-serif;"><b>DEBATE/DISCUSS: </b></span><span style="color: lime; font-family: Trebuchet MS, sans-serif;"><b><i>With all due respect to everybody's 'religious sentiments' - I just need to know from any (or many) of my enlightened friends here on Facebook if they can cite me one verse from the Qu'ran that mentions specifically that it is obligatory on all Muslims to slaughter an innocent animal EVERY YEAR during Eid Al Adha to appease Allah? Please no references or argument points from Hadith <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="c692e4bd-773f-4712-8832-ade3454b8813" ginger_sofatware_uiphraseguid="77fa5eaa-487b-4610-8772-61b016308f26" grcontextid="etc:0">etc</span>....<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="bcb65554-19da-40c1-aa78-9c69b2ede729" ginger_sofatware_uiphraseguid="77fa5eaa-487b-4610-8772-61b016308f26" grcontextid=".:1">.</span>stay strictly to the Qu'ran. Thanks</i></b></span></blockquote>
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<span style="font-family: Trebuchet MS, sans-serif;"><b><span style="color: red;"><span class="GINGER_SOFATWARE_noSuggestion GINGER_SOFATWARE_correct" ginger_sofatware_markguid="027037ac-78a1-4de8-9aca-eb32025b710e" ginger_sofatware_uiphraseguid="ad604353-62f0-458c-baed-a8c178608bf0" grcontextid="Rubayet:0">Rubayet</span> Choudhury:</span></b> “Then when (the son) reached the age of serious work with him, he said: “<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="4cba57b5-e225-4797-bb88-ceba4d282501" ginger_sofatware_uiphraseguid="ad604353-62f0-458c-baed-a8c178608bf0" grcontextid="Oh my son:1">Oh my son</span>! I see in vision that I offer thee in sacrifice: Now see what is thy view!” (The son) said: “Oh my father! Do As thou art commanded: Thou wilt find me, if Allah so wills one practicing patience and constancy!” So when they had both submitted their will to Allah, and he had laid him prostrate on his forehead for sacrifice, We called out to him, “Oh Abraham! Thou hast already fulfilled the vision!” Thus indeed do We reward those who do right. For this was obviously a trial and We ransomed him with a momentous sacrifice.” The Holy Qur'an, Chapter 37, Verses 102-107.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">"And for all religion We have appointed a rite [of sacrifice] that they may mention the name of Allah over what He has provided for them of [<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="0e4a3be2-6021-4043-9c64-a4c70a7f164c" ginger_sofatware_uiphraseguid="05143f93-32da-42fe-916d-d4a208a49235" grcontextid="sacrificial:0">sacrificial</span>] animals. For your <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="19f4bf46-9916-4c6c-a20c-937d9f7ac467" ginger_sofatware_uiphraseguid="ef564cfb-fd46-4eb9-b9e2-eb51cee6b818" grcontextid="god:0">god</span> is one God, so <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="a3f7aaa8-848c-4ebf-952e-d549f70891ea" ginger_sofatware_uiphraseguid="ef564cfb-fd46-4eb9-b9e2-eb51cee6b818" grcontextid="to Him submit:1">to Him submit</span>. And, [O Muhammad], give good tidings to the humble [before their Lord]" The Holy Qur'an, Chapter 22, Verse 34. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">“ It is not their meat nor their blood, that reaches Allah: it is your piety that reaches Him: He has thus made them subject to you, that ye may glorify Allah for His guidance to you: And proclaim the Good News to all who do right.” The Holy Qur'an, Chapter 22, Verse 37.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><b>Mac Haque : </b>Rubayet Choudhury <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="7f91e371-d2fe-4002-a16b-11ce3b042a1f" ginger_sofatware_uiphraseguid="c6f18fd2-6691-4b49-9ff0-3797fe6072be" grcontextid="agree:0">agree</span> with the verses.<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="20916f2d-a8ee-48f4-98a8-e122a0b94b5c" ginger_sofatware_uiphraseguid="c6f18fd2-6691-4b49-9ff0-3797fe6072be" grcontextid=".:1">.</span>but <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="3ab6dbc5-68b0-4c06-843b-a9f23bd87024" ginger_sofatware_uiphraseguid="c6f18fd2-6691-4b49-9ff0-3797fe6072be" grcontextid="doesnt:2">doesnt</span> answer my query.<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="e049ca8b-395b-4613-8a2e-9132bc0e2f45" ginger_sofatware_uiphraseguid="c6f18fd2-6691-4b49-9ff0-3797fe6072be" grcontextid=".:3">.</span>is it an obligatory 'rite' every year for all well to do Muslims?</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><b><span style="color: red;"><span class="GINGER_SOFATWARE_noSuggestion GINGER_SOFATWARE_correct" ginger_sofatware_markguid="058b53ef-4a73-4f60-8f22-412b2044de46" ginger_sofatware_uiphraseguid="611573af-57cc-4106-9ee7-79b5bc2185af" grcontextid="Rubayet:0">Rubayet</span> Choudhury:</span></b> .. <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="01585313-0dd3-4f35-9ed3-79af33e9941e" ginger_sofatware_uiphraseguid="7a250b89-3965-416a-a2ce-c17907066681" grcontextid="like:0">like</span> the Eid-<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="f204d131-4230-477c-aff1-6145efab5c77" ginger_sofatware_uiphraseguid="7a250b89-3965-416a-a2ce-c17907066681" grcontextid="ul:1">ul</span>-Fitr that is attached and celebrated after a month long Fasting; Eid-<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="fe5f9b5d-8423-4700-a6e2-320ff998525e" ginger_sofatware_uiphraseguid="7a250b89-3965-416a-a2ce-c17907066681" grcontextid="ul:2">ul</span>-Adha is indeed an important yearly Islamic ritual that is attached to the yearly Pilgrimage Hajj. However, like the Hajj itself that is NOT a compulsory ritual for every Muslim who cannot afford to go for Hajj, the sacrificing of an animal is also NOT a compulsory ritual for every <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="348b29ea-e648-4d7c-b361-a02e8cb8e51a" ginger_sofatware_uiphraseguid="53e2bbc9-36b0-4a34-998d-85ba89441a4a" grcontextid="muslim:0">muslim</span> who cannot afford to buy a sacrificing animal. “It is not their meat nor their blood, that reaches Allah: it is your piety that reaches Him". But if a <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="2a198882-1502-4ed6-b8ba-90544cdfc068" ginger_sofatware_uiphraseguid="1c8b9fc1-a1b4-4301-a2f1-24c34096edb5" grcontextid="muslim:0">muslim</span> is capable of buying even a small sheep or ram after meeting his other financial obligations then he/she must sacrifice this year. If their financial status doesn't stay the same the year after. <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="b17a0312-732f-4343-ae2d-ea9885d82a1e" ginger_sofatware_uiphraseguid="0ac9b90e-8cd6-4dc8-b49f-c7b3689efc09" grcontextid="then:0">then</span> this same person doesn't have to <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="ac60d495-c7a1-4e84-8958-35cd6ab07096" ginger_sofatware_uiphraseguid="0ac9b90e-8cd6-4dc8-b49f-c7b3689efc09" grcontextid="do:1">do</span> the sacrifice as his/her financial status has changed within this one year period.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><b><span style="color: red;">Mac Haque: </span></b> Rubayet Choudhury what <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="f7a239e4-0e11-4181-9e53-e1b51070f6d7" ginger_sofatware_uiphraseguid="02ac29aa-e27d-4bbe-9b9b-204a66e833d5" grcontextid="u:0">u</span> mention are suppositions 'then he/she must sacrifice this year' and from Hadith...there is no final statement in the Qu'ran in my understanding. How can one have <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="7559597c-0d58-4034-887f-b072e3f8176a" ginger_sofatware_uiphraseguid="b8708ce2-fb23-421a-98e9-d89fa0dc5d27" grcontextid="piety:0">piety</span> if we cannot justify slaughtering an innocent animal? How can Allah be 'pleased by such wanton butchery?</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><b><span style="color: red;"><span class="GINGER_SOFATWARE_noSuggestion GINGER_SOFATWARE_correct" ginger_sofatware_markguid="1741c536-6387-444d-9ba2-4f9233089ea8" ginger_sofatware_uiphraseguid="ad7e37f5-1328-4f19-b50f-d88f3f4b5ce5" grcontextid="Rubayet:0">Rubayet</span> Choudhury:</span></b> .. Maqsood Bhai, do we feel the same pain when someone cuts a tree? Or do we feel the same pain or have similar perspective when we sacrifice a plant to make our vegetable foods? Or even fish? Every creation of Allah’pak is a ‘life form’ made in <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="763d3a68-d776-429d-b9ba-589264b4973c" ginger_sofatware_uiphraseguid="682a219b-f248-4d49-95d6-c27dfb375849" grcontextid="different reality:0">different reality</span>, and Allah’pak is ‘above’ all of these realities. When we break a tree leaf and see a white <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="391a93aa-3575-4f5f-9e4f-5c3586dacf13" ginger_sofatware_uiphraseguid="a5c261ef-8516-4570-992c-3d0173bd8f6b" grcontextid="colour:0">colour</span> juice is dripping, what is that? That is the blood of the tree created for a different purpose i.e. <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="5f254b2e-5d2a-4b8e-8078-a85618aa53c2" ginger_sofatware_uiphraseguid="788830e8-ad15-440b-87d0-b0f9fc2a96e0" grcontextid="to:0">to</span> make adhesive or for other herbal medical usage. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">But as our reality with ‘blood’ is different, we feel hurt that we are sacrificing an innocent animal. But it is the same thing as a tree, because being a life form it also endures the pain, but it doesn't affect us the way when we see the same with a tree <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="4b109ea9-eb16-4205-9d09-d58f9e471bfd" ginger_sofatware_uiphraseguid="54218a1c-5139-407d-8e58-b40e860badc5" grcontextid="plant:0">plant</span> or even when we kill a fish. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The entire nature is created for the ‘service’ of mankind and the One who created this nature knows <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="037e38f4-13f2-4c6b-9a7b-eb72bb4ee679" ginger_sofatware_uiphraseguid="84d33407-5f70-4351-adb6-110f106ffc2c" grcontextid="the best:0">the best</span>. All we are asked to follow the teachings of Prophet Muhammad [pbuh] as the Holy Qur’an was revealed upon him.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="color: red;"><b><span class="GINGER_SOFATWARE_noSuggestion GINGER_SOFATWARE_correct" ginger_sofatware_markguid="ad6f3b97-04b5-4ce7-a3cf-b378d0fa3b8a" ginger_sofatware_uiphraseguid="f02dd7e3-47c6-4035-aa41-73e2e566babc" grcontextid="Ashrafuzzaman:0">Ashrafuzzaman</span> Minhaz:</b> </span>The Quran states that Abraham had a dream in which he believed God was instructing him to sacrifice his son. What should be obvious, yet is overlooked, is that at no point does the Quran state the dream was from God or that God demanded this sacrifice. This is an important distinction to make since the insistence for animal sacrifice is based upon the notion that Abraham's vision came from God and God instructed Abraham to sacrifice his son. In fact it should be noted that God interjects to stop Abraham from sacrificing his son.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The next distinction to make in the story has to do with a translation of the last line -- "And We ransomed him With a momentous sacrifice."</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">In some translations of the Quran the term "Momentous sacrifice" has been replaced with animal sacrifice. There seems to be some debate among scholars on this last, but crucial, sentence. Quranic scholars such as Muhammad Asad have further interpreted this line to read "mighty" or "tremendous" and have indicated (in their references) that Abraham, himself, not God, sought out a Ram for slaughter.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">In fact the Abrahamic sacrifice had nothing to do with the physical act of <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="adede456-9adb-434c-bf0b-38a72314562d" ginger_sofatware_uiphraseguid="700bb59a-2474-49f3-93c2-0a09205f9076" grcontextid="blood-letting:0">blood-letting</span>. Abraham's sacrifice was ACTUALLY about his willingness to let go of the most important thing in his life, in order to fulfill, what he perceived to be, the will of the Divine Creator.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">In order to properly commemorate Abraham's sacrifice it's important to ask ourselves if we are giving up something of intense value when we reduce the sacrifice to slaughtering an animal. Are we really making the same type of emotional and mental sacrifice that Abraham made? If not, then how exactly are we enhancing our spiritual development by continuing with this tradition?</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><b><span style="color: red;">Mac Haque :</span></b> Rubayet Choudhury I do acknowledge your points but you have not been able to come up with a specific verse about slaughter every year. We are not practicing Qurbani, we are only showing off our <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="8f3d43ed-831d-418e-98f8-0b6e018d4c05" ginger_sofatware_uiphraseguid="251f3b1f-ff31-4b3a-a3d5-c2e06b158309" grcontextid="wealth:0">wealth</span> at the expense of a life of these poor creatures. The origins of Qurbani was to ensure that man did not turn to cannibals - and the lamb that replaced Ishmael was symbolic in the sense of the misconception of humans as slaughter <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="332fa025-3df2-40b5-a6f0-b017f1bb7b8a" ginger_sofatware_uiphraseguid="9545a7e0-8c7b-4810-8bbc-84c0b58890fa" grcontextid="wihich:0">wihich</span> does predate Islam. Today we have diseased, steroid fattened animals up for slaughter. Our entire food chain has become corrupted due to this rite which has nothing to do with Islam or is there any specific instruction to kill an animal every year. Last if not the least, the Quran is merely an address book about the 'location' of Allah. However if there is any verifiable document for the existence of Allah it is in the creation called humans. The more we stray and make Allah an us <span class="GINGER_SOFATWARE_noSuggestion GINGER_SOFATWARE_correct" ginger_sofatware_markguid="eb5f7307-1556-46a9-9779-c61fd96e8fc1" ginger_sofatware_uiphraseguid="7832daa5-ba86-4786-8f03-2b4791fe29f3" grcontextid="vs:0">vs</span> HIM thing, or have a 'hub and spoke' notions of the 'creator and creation' - I am afraid it is our ignorance and not intellect that will reveal itself. Allah lives in all of us. If we insensibly kill an animal thinking it is Allah who is 'appeased', we have killed both Allah and ourselves.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="color: red;"><b><span class="GINGER_SOFATWARE_noSuggestion GINGER_SOFATWARE_correct" ginger_sofatware_markguid="38dbcce3-23a9-43dc-899b-11f1cd305084" ginger_sofatware_uiphraseguid="eb2ec7cc-7958-4442-bc56-7add2f06b6a0" grcontextid="Nabila:0">Nabila</span> Khalid:</b> </span> I don't get it! What do you mean by life of these poor creatures? As if we do NOT kill them when it is not Qurbani? <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="7b6f3b6b-9c95-4acb-bf0c-ee888f205c10" ginger_sofatware_uiphraseguid="aaa21ccf-1249-48b4-b2fe-c4bb3157bb01" grcontextid="WHat:0">WHat</span>? Are we vegetarians <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="f6e91f82-5129-4fed-9464-84a51ce32d17" ginger_sofatware_uiphraseguid="216af2ae-df0f-4e24-b37a-1ed39c3ce7f6" grcontextid="through out:0">through out</span> the year and ONLY kill these creatures on Eid day? That's not right. So the question can be is it religious or not? NOT if it is right or wrong. Because if slaughtering them is wrong then it should be <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="6afa5a3a-0c53-46f0-b8e6-2a41149445c4" ginger_sofatware_uiphraseguid="3dc63c8f-bce7-46bd-a860-c100abbecd4c" grcontextid="wrong:0">wrong</span> <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="80c4776b-5402-4202-a507-23c0ecbd969c" ginger_sofatware_uiphraseguid="3dc63c8f-bce7-46bd-a860-c100abbecd4c" grcontextid="through out:1">through out</span> the year why pick on Qurbani <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="f67d8196-f012-4166-bc8f-3db754e4e6d1" ginger_sofatware_uiphraseguid="3dc63c8f-bce7-46bd-a860-c100abbecd4c" grcontextid="eid:2">eid</span> in specific? No point.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><b><span style="color: red;">Rahim Choudhary:</span> </b> Mac Haque has done a great service to all of us by bringing this question up on this forum. Thank you. The answer to the inquiry by Mac seems to be a clear NO. It seems that <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="6af8fb35-56b3-44ca-b82e-940a37157d92" ginger_sofatware_uiphraseguid="bd2e5a6e-0e43-4c11-889b-1660e97fe77d" grcontextid="Quran:0">Quran</span> has nothing to the effect that it is obligatory on a SAHIB_E_NISAAB man to sacrifice an animal. We should perhaps move on to Hadith to examine if there is <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="d96bf2c9-647f-440d-b79d-aad75bb47585" ginger_sofatware_uiphraseguid="fbdc295f-f0e1-40b9-8ee0-ba4ffac2bf07" grcontextid="some:0">some</span> such instruction in Hadith literature, based on which this practice is promulgated. I look forward to find out the detail from Hadith.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="color: red;"><b>Sadiq M. <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="e8897607-164a-4ebb-8e57-fcaf9bf088a8" ginger_sofatware_uiphraseguid="83c5a978-8c88-4cb7-9e86-6f88f8f592d6" grcontextid="Alam:0">Alam</span>:</b> </span> Just as without Lalon Sain <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="3d017da7-0b19-4efa-b95d-977b2c681268" ginger_sofatware_uiphraseguid="83c5a978-8c88-4cb7-9e86-6f88f8f592d6" grcontextid="ji:1">ji</span>, there is no Lalon Song. Similarly without (faith and reverence) to the Messenger, the Message is of no value. If I say, I <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="4131b82a-ded5-4850-902a-16c3853185b7" ginger_sofatware_uiphraseguid="5c0bb06c-6653-4c69-9c45-2380ea60c85a" grcontextid="dont:0">dont</span> care about the Messenger (or his practice, or his inner reality, or how he acted or asked us to act), then I <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="13e7c722-a8c7-44fd-a534-cd3aeebb29fc" ginger_sofatware_uiphraseguid="5c0bb06c-6653-4c69-9c45-2380ea60c85a" grcontextid="cant:1">cant</span> prove myself to be more religious or pious by sticking to the Message.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The reason I say that because many actually argue like this, "Show me in the Quran, <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="016e1bb5-40ef-4b5a-8e9e-f29adf9bafd2" ginger_sofatware_uiphraseguid="9c145082-ee67-4cf1-9256-a4d2b0414dc3" grcontextid="dont:0">dont</span> show me in <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="c1671003-2b49-4c79-83ca-fe2010d65f00" ginger_sofatware_uiphraseguid="9c145082-ee67-4cf1-9256-a4d2b0414dc3" grcontextid="Hadith:1">Hadith</span>.. " <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="564db0ce-bb4a-435b-9e5b-4640a84e27e6" ginger_sofatware_uiphraseguid="1b64c78c-53d0-4f6b-8bb4-3f209f042643" grcontextid="but:0">but</span> <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="3c7ea2e7-df31-4ae4-93bc-8adb2c3a4a3b" ginger_sofatware_uiphraseguid="1b64c78c-53d0-4f6b-8bb4-3f209f042643" grcontextid="its:1">its</span> like saying, "Sing me a Lalon Song but <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="1aada48e-8a0d-496f-84ed-1379488ec846" ginger_sofatware_uiphraseguid="1b64c78c-53d0-4f6b-8bb4-3f209f042643" grcontextid="dont:2">dont</span> talk about Lalon to me, I am not interested in him."</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">If someone is not interested what the Prophet did, said, embodied, expressed, kept silent on, gave permission for, then he, she may not even have any interest for the Message. Cause if you distrust and feel unloving to the Messenger (by you <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="ec81198a-4532-4eb9-895d-02beb094e223" ginger_sofatware_uiphraseguid="218f5d66-92db-430b-9647-fecc954d74a4" grcontextid="i:0">i</span> <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="dd514936-3d18-4cf4-a613-db101944d4a4" ginger_sofatware_uiphraseguid="218f5d66-92db-430b-9647-fecc954d74a4" grcontextid="dont:1">dont</span> mean personally, but generally speaking), then how can you trust his Message.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Quran clearly says, Obey Allah and Obey the Messenger. That encompasses the action of the Messenger. And that includes, without doubt the natural practice of sacrificing <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="9415c63f-7317-433e-a825-c88572f1957b" ginger_sofatware_uiphraseguid="9730c2e8-ad8c-46dd-97f9-38994a287545" grcontextid="animal:0">animal</span>. <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="c9b74603-b220-4189-8a36-c6d8a3190802" ginger_sofatware_uiphraseguid="fc9ee779-503c-48ce-9bf2-23e3d6ac26df" grcontextid="Animal:0">Animal</span> was sacrificed left and right, still done. Religion say do it with reverence for life, do it in the name of the One who gives life and death - <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="6b4aa1a2-cb0b-44e8-b303-479b9f62400e" ginger_sofatware_uiphraseguid="b44ab53c-002c-4a0b-b636-dccb6135d653" grcontextid="thats:0">thats</span> it. The science of Hadith is one of the most cited, referenced and well research subject in human history even much before <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="4f5c73f5-653f-4980-a648-4695967f4e15" ginger_sofatware_uiphraseguid="2e96bcfd-fa16-4fff-974e-d728eb02e676" grcontextid="citation:0">citation</span>, reference, chain of reference, multiple reference in research was even invented in modern academia. <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="1b691ff5-b1b8-4e9f-89fa-a36b416d5bdd" ginger_sofatware_uiphraseguid="07fe8503-f19b-4d32-ac02-6d747fc7d5f3" grcontextid="Its:0">Its</span> just our ignorance that <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="79270514-12e8-49b5-82df-fac2598d2a31" ginger_sofatware_uiphraseguid="07fe8503-f19b-4d32-ac02-6d747fc7d5f3" grcontextid="make:1">make</span> us look down upon hadith, whereas they are the most prizes source for devotees of the Messenger to get the first layer of knowledge about their object of devotion. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">As for the issue of Sacrifice, see here all the references of Sacrifice as a central act from the dawn of humanity. http://quran.com/search?q=sacrifice</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Peace!</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><b><span style="color: red;">Sadiq M. <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="2c466a93-ca2a-42ec-ab02-28083418f434" ginger_sofatware_uiphraseguid="e0467686-a728-405f-92db-d42f4df0121e" grcontextid="Alam:0">Alam</span>:</span> </b> By the way, as for the custom of sacrifice, my personal take on it is this: Sacrifice is integral part of Hajj, not something that every non-Hajj <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="95712f34-4d46-4891-8a5e-528021067be9" ginger_sofatware_uiphraseguid="e0467686-a728-405f-92db-d42f4df0121e" grcontextid="muslim:1">muslim</span> has to do. A <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="5c73ed4c-4eb2-4051-ac8d-d81fea2ac18c" ginger_sofatware_uiphraseguid="0be641c3-63d0-463f-ae95-8fa1a06cffea" grcontextid="muslim:0">muslim</span> can skip sacrifice cause its not an obligatory act.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Since we sub-continental people love eating and everything to do with eating, all religious things that involves eating, we are super do people. Be it Ramadan Iftar or Eating Meat in Eid. </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">But Islamically speaking, Sacrifice is not something each Muslim has to do. Its only a part of Hajj and those who are not doing Hajj, <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="6d8f9e2f-e286-410d-b444-13e869188cae" ginger_sofatware_uiphraseguid="3cbd5eea-101e-45dd-91c1-6cc44f85e230" grcontextid="its:0">its</span> not obligatory. <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="3fb964ea-e3b4-4ef8-905a-9f656ece4c43" ginger_sofatware_uiphraseguid="27d2eee4-db4f-46c7-bb58-c174e5998a62" grcontextid="Thats:0">Thats</span> just my findings and opinion, not mainstream so called religiously correct fatwa.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><b><span style="color: red;"><span class="GINGER_SOFATWARE_noSuggestion GINGER_SOFATWARE_correct" ginger_sofatware_markguid="8d2028bc-1ef0-414e-b6fe-b86ecc506653" ginger_sofatware_uiphraseguid="b443827b-b19f-4db4-881a-742dc0d5327d" grcontextid="Nabila:0">Nabila</span> Khalid: </span></b> Respect!</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="color: red;"><b>Mac Haque :</b></span><b> </b>Sadiq M. <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="6a8275b3-7baf-468d-b003-3fc65efdde68" ginger_sofatware_uiphraseguid="a6af345d-e7fd-4b23-9dac-7187302366f2" grcontextid="Alam:0">Alam</span> both your post throw two separate axioms into this </span><span style="font-family: 'Trebuchet MS', sans-serif;">debate</span><span style="font-family: 'Trebuchet MS', sans-serif;">/discussion among friends. When you say "Sing me a Lalon Song but </span><span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="84b9f967-b601-4db6-9fc0-ca2cb0bddbbe" ginger_sofatware_uiphraseguid="d7cae011-99b3-4341-a112-e32093253cce" grcontextid="dont:0" style="font-family: 'Trebuchet MS', sans-serif;">dont</span><span style="font-family: 'Trebuchet MS', sans-serif;"> talk about Lalon to me, I am not interested in him." - you are actually stating an important fact. The persona of Lalon </span><span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="8ccca6e3-bc7c-4f67-bc2b-f6f4578ec115" ginger_sofatware_uiphraseguid="200c0694-2d67-4c26-aac3-3f8803d24f10" grcontextid="sHAIji:0" style="font-family: 'Trebuchet MS', sans-serif;">sHAIji</span><span style="font-family: 'Trebuchet MS', sans-serif;"> is unimportant in the Sharsina e Faqiri schools of thought in Bengal. If there is any way we may ever get to know or understand him it is in the </span><span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="2c2fb745-1488-40d9-9674-6fd8235d4bae" ginger_sofatware_uiphraseguid="e1da9a30-6de2-4a56-949a-91b0651e382f" grcontextid="gems:0" style="font-family: 'Trebuchet MS', sans-serif;">gems</span><span style="font-family: 'Trebuchet MS', sans-serif;"> encapsulated in his nearly recorded 1200 songs - and almost a similar number that have either gone missing or were usurped by dubious interest. In nearly 123 years after his transition, we are only beginning to scratch at the surface.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Brings us to 'follow the Messenger'.<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="714e132c-87bc-49c9-b419-ad06f1156d07" ginger_sofatware_uiphraseguid="4e2218e4-df9b-43ab-8560-06fc1b9feb51" grcontextid=".:0">.</span>is it a singular or plural expression? I thought it was plural. From Abraham down to Muhamad (pbuh) all were messengers - yet the finality of the Messages has been left to human introspection. That is the beauty of the Qu'ran. I am more than confident in 1500 years what we have gathered from/about the Qu'ran will not exactly be the same in the coming 1500. Fundamentally I disagree with the words of the Hadith's cause despite the seeming 'scientific' retinue, it is a shame that 6 Hadith books will give you 6 different interpretations of the same thing! </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="9850558b-b83d-4045-9dbc-73ca5a1445fb" ginger_sofatware_uiphraseguid="de2ec353-8074-4d00-8cf4-a5a89a086d05" grcontextid="Seperately:0">Seperately</span>, some of these obnoxious Hadith writers have strayed as far as to write utter nonsense about the Prophet's personal life which is the cause of many of the slurs and bad name given to the Messenger and Islam. Further there are some Hadithi Muslims who consider the Qu'ran is incomplete, so hence we are left with no choice but to believe them? I would not like to believe anything that is 'man made' and like it or not, would like to leave it to my limited intellect to find answers - or maybe ask questions and as difficult as they may be (and as unpopular s it may make me), it's better to seek answers than dwell in blind faith.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">About animal slaughter - thanks for clarifying. Ultimately its the reckless consumption and the tendency to show off that speaks volumes about our so called Taqwa or piety. I do go around visiting villages in Bangladesh and the rarest thing to see these days is a cow pulling a <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="488165a6-6e63-4a85-962d-a7c19953fc92" ginger_sofatware_uiphraseguid="c8c30839-4735-48dc-bd00-a21f1c1ed669" grcontextid="plough:0">plough</span>. There are hardly any cows left. A friend talked about animals coming from nature...but in our reckless consumption - do we take the pain to rear cows or goats in the proportions that we consume them? We are dependent on India who neither eats these animals nor have the means to feed them But what about the steroid being pushed into the cows to fatten them? What about the cows thrown off the hills of Meghalaya because it is cheaper to throw them off and let 10% of these animals die (they are quickly slaughtered and sold in the nearest market) <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="a3ebe50d-aba5-41d7-895a-947fe26327c5" ginger_sofatware_uiphraseguid="03d81b62-9766-4317-8db6-7d2f53191a20" grcontextid="then:0">then</span> to transport them by trucks? I mean how more ruthless can we get to satiate our taste buds in our vain attempts to 'appease Allah' ?</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Last if not the least.<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="04684988-bd32-4b52-be8b-964e7d11d285" ginger_sofatware_uiphraseguid="27a7740c-86a8-4456-a1b7-a319b0a4aa93" grcontextid=".:0">.</span>do consider the case of organic milk in Bangladesh these days. I for one have to make a 10km trip each week to fetch milk for my daughter. That is not all, I have to stand in a queue and have to wait over an hour, and all I get is maybe 2 kgs.<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="57f5a66e-0638-4276-ac08-6547ea8d2f72" ginger_sofatware_uiphraseguid="287bedb3-ecbc-485d-8949-9ee4c4123d28" grcontextid=".:0">.</span>3 if I am lucky. Sad state of affairs in a nation of 160 million people were daily no more than a million cows are slaughtered anyway - and perhaps 20 million on that special day where Allah seems to forgive all our sins and is 'appeased'? How more ridiculous can we get?</span></div>
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<span style="font-family: 'Trebuchet MS', sans-serif;"><span style="color: red;"><b>Habib Rahman:</b> </span>In a greater sense the idea of Sacrificing </span><span style="font-family: 'Trebuchet MS', sans-serif;"><span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="69c8d99a-b883-407b-bca8-7ebfb194651d" ginger_sofatware_uiphraseguid="705c0d05-4745-4c0a-b957-d100503f6838" grcontextid="animal:0">animal</span></span><span style="font-family: 'Trebuchet MS', sans-serif;"> in Islam is related to (1) human sustenance and to (2) the rites of Hajj. However, the following verses from Sura Hajj can be consulted for insight into the matter: 34) And for all religion We have appointed a rite [of sacrifice] that they may mention the name of Allah over what He has provided for them of [</span><span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="110dec16-4a9c-4f41-80ca-98bf51b5ff45" ginger_sofatware_uiphraseguid="9ddd190f-de2e-4b1f-8051-085bcbcaf0f5" grcontextid="sacrificial:0" style="font-family: 'Trebuchet MS', sans-serif;">sacrificial</span><span style="font-family: 'Trebuchet MS', sans-serif;">] animals. For your </span><span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="04f9e13b-5fb9-4f87-9746-b5e914b229fe" ginger_sofatware_uiphraseguid="8fc673be-bd36-494f-b738-d7621310f462" grcontextid="god:0" style="font-family: 'Trebuchet MS', sans-serif;">god</span><span style="font-family: 'Trebuchet MS', sans-serif;"> is one God, so </span><span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="44613041-24d0-4577-93b0-b4ff37532e03" ginger_sofatware_uiphraseguid="8fc673be-bd36-494f-b738-d7621310f462" grcontextid="to Him submit:1" style="font-family: 'Trebuchet MS', sans-serif;">to Him submit</span><span style="font-family: 'Trebuchet MS', sans-serif;">. And, [O Muhammad], give good tidings to the humble [before their Lord] (35) Who, when Allah is mentioned, their hearts are fearful, and [to] the patient over what has afflicted them, and the </span><span class="GINGER_SOFATWARE_noSuggestion GINGER_SOFATWARE_correct" ginger_sofatware_markguid="35734930-a68e-447a-a0fa-54d0f5429d42" ginger_sofatware_uiphraseguid="8964a5c2-7c2f-4dee-890c-a42831dc016a" grcontextid="establishers:0" style="font-family: 'Trebuchet MS', sans-serif;">establishers</span><span style="font-family: 'Trebuchet MS', sans-serif;"> of prayer and those who spend from what We have provided them. (36)And the camels and cattle We have appointed for you as among the symbols of Allah; for you therein is good. So mention the name of Allah upon them when lined up [for sacrifice]; and when they are [lifeless] on their sides, then eat from them and feed the needy and the beggar. Thus have We subjected them to you that you may be grateful. (37) Their meat will not reach Allah, nor will their blood, but what reaches Him is piety from you. Thus have We subjected them to you that you may glorify Allah for that [to] which He has guided you; and give good tidings to the doers of good. (38) Indeed, Allah defends those who have believed. Indeed, Allah does not like everyone treacherous and ungrateful. (The translations are from the </span><span class="GINGER_SOFATWARE_noSuggestion GINGER_SOFATWARE_correct" ginger_sofatware_markguid="58c972e0-e8d8-4e22-abbf-d04a704c59e3" ginger_sofatware_uiphraseguid="0f548c37-e38b-484b-bce9-11f699ec0c13" grcontextid="`Saheeh:0" style="font-family: 'Trebuchet MS', sans-serif;">`Saheeh</span><span style="font-family: 'Trebuchet MS', sans-serif;"> Translation'.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="color: red;"><b>Rahim Choudhary:</b> </span>Thank you everybody. The discussion was useful and conclusive. The conclusion seems to be:</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">1. Sacrificing an animal is required only as a part of the Haj <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="d649a579-bf6b-49ed-839b-81ce13f5b2d1" ginger_sofatware_uiphraseguid="04016184-45f1-4811-b001-f3a1e23a4b7b" grcontextid="manasik:0">manasik</span>.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">2. <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="8d37c186-b34e-47e5-9bb8-0dcda24ce91b" ginger_sofatware_uiphraseguid="e6e80ac7-73a1-4710-9760-11429b686ed1" grcontextid="Sacrifice:0">Sacrifice</span> of an animal is NOT required otherwise as far as <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="d4fd1523-3e62-4e3a-8818-78180d6c56ca" ginger_sofatware_uiphraseguid="e6e80ac7-73a1-4710-9760-11429b686ed1" grcontextid="Quran:1">Quran</span> is concerned.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">3. Sacrificing of an animal is NOT required also by Hadith (if I got brother Sadiq M. <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="fe0464d8-c7b0-41d6-be18-8c96b839aaec" ginger_sofatware_uiphraseguid="4b6f0f4b-a64b-4ab0-956b-35cd86773cc7" grcontextid="Alam:0">Alam</span> correctly). </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">It is time to take a pause and think, where did this custom come from? Because it did not come as a requirement from Quran or Hadith!!!</span></div>
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Mac Haquehttp://www.blogger.com/profile/14042188545433901143noreply@blogger.com0tag:blogger.com,1999:blog-10576392.post-61974649571045472492013-09-10T22:41:00.000+06:002013-10-06T10:14:06.203+06:00The meaning of the word 'Shah'.<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Trebuchet MS, sans-serif;"><b><span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="177c02cb-932a-45db-80a1-f610fdedbf22" ginger_sofatware_uiphraseguid="1be44f03-d71c-4924-9a29-f03cec6dee2a" grcontextid="by:0">by</span> Mac Haque</b></span><br />
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<span style="font-family: Trebuchet MS, sans-serif;"><i><b>"God is the Light" (Quran 24:35; Surat <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="c35b250e-527c-4ca0-9edb-18d4ac108c13" ginger_sofatware_uiphraseguid="7d245ac7-91b4-42ca-b29e-50d0a05d9eca" grcontextid="an:0">an</span>-Noor)</b></i></span></blockquote>
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<span style="font-family: Trebuchet MS, sans-serif;">There is a debate raging about the meaning of the word 'Shah' that is used before the names/titles of many a Baul or Sufi Saints of our times. In reality there is nothing 'mystical or spiritual' about it, but at the same time it is also not a word/title that can be trivialized unless our intentions are to deliberately malign some of humanity's greatest minds, the 'great lamps that lit the light'.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Etymologically 'Gossain, Sain, Sai or Shah' are one and the same. Please note there is nothing sectarian or communal in usage of any of these terms. It means someone who is 'enlightened'. Now what is the 'light' in enlightenment? The pre-Abrahamic era sage<b> Hermes Trismegistus</b> said </span><br />
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<span style="font-family: Trebuchet MS, sans-serif;"><b><i>'' A large lamp will continue to light smaller lamps until the very end of time''.</i></b></span></blockquote>
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<span style="font-family: Trebuchet MS, sans-serif;">The first principal of creation is light. We enter our mother's womb as light and the soul that keeps us 'burning is a lamp. When we die, the lamp may have switched off but the light remains, for the soul can neither be created nor destroyed and science goes on to reaffirm that soul is energy that can neither be created or destroyed...it only takes a 'different shape/s'. Sufis refer to this as the 'Noor' - with all humanity of believers supposedly blessed with 'Noor e Muhammadi' i.e. <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="195a09de-17f9-4cff-a3b1-7646aaca41ee" ginger_sofatware_uiphraseguid="0d84e427-2014-4ac7-a274-ab73cfab51c5" grcontextid="the:0">the</span> same light that lit the soul of the last Prophet. </span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Shah therefore means a 'lamp that has been lit'. A lamp that will continue to impart knowledge to equip mankind so that is not to be overtaken by darkness. The word Shah in our culture is also a repeated reminder that the lamp will always be around in the forefront to ward off our consistent 'darkness', the darkness of our spirit, the filth in our soul that is left to <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="4a90518c-a07a-4a52-8778-8accbb5e94fd" ginger_sofatware_uiphraseguid="116b90ab-a216-43a9-9dbc-662532a0def3" grcontextid="our:0">our</span> Gossain, Sain, Sai or Shah's to polish off, keep reawakened, rejuvenated at all given times, till the very end of times. </span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Let there be light, let us remove the darkness from within our souls as evil forces so badly wants us to envelop ourselves in. </span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">In humility and hurt.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;"><span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="a988da98-0da6-40d4-a92c-8680730f6228" ginger_sofatware_uiphraseguid="b0e0ccc4-d9aa-4d25-8c9e-2b783bec03bc" grcontextid="jOI:0">jOI</span> <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="358ee7d2-f723-4984-ac84-da1d3f65d3e9" ginger_sofatware_uiphraseguid="b0e0ccc4-d9aa-4d25-8c9e-2b783bec03bc" grcontextid="gURU:1">gURU</span> <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="211051cc-5948-4e1b-9060-1d8d7356a0e4" ginger_sofatware_uiphraseguid="b0e0ccc4-d9aa-4d25-8c9e-2b783bec03bc" grcontextid="aLEK:2">aLEK</span> <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="27ad578e-d091-4b3e-99bb-1a064316e604" ginger_sofatware_uiphraseguid="b0e0ccc4-d9aa-4d25-8c9e-2b783bec03bc" grcontextid="sHAI:3">sHAI</span> </span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<span style="font-family: Trebuchet MS, sans-serif;">Mac</span></div>
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Mac Haquehttp://www.blogger.com/profile/14042188545433901143noreply@blogger.com0