Скачать с ютуб জীবন নদীর ঘূর্ণিপাকে আর কতকাল বাইবি খেয়া মন || jibon nodir ghurnipake ||baul gan|| Gostho Gopal Das в хорошем качестве

জীবন নদীর ঘূর্ণিপাকে আর কতকাল বাইবি খেয়া মন || jibon nodir ghurnipake ||baul gan|| Gostho Gopal Das

#folk_song #jibon_nodir_ghurnipake #baul_gan #Gosthogopal_song #sadstatus #sadsong #banglafolksong #bangla #banglafolksongbaul #lokogaan #lokogeti_song #lokogeet #lokogiti #banglarbaul The Bauls (meaning "divinely inspired insanity") are a group of mystic minstrels (Muslim Sufis and Hindu Baishnos) from the Bengal region, who sang primarily in the 17th and 18th centuries. They are thought to have been influenced greatly by the Hindu tantric sect of the Kartabhajas as well as by Muslim Sufi philosophers. Bauls traveled and sang in search of the internal ideal, Moner Manush (Man of the Heart or the inner being), and described "superfluous" differences between religions. Lalon Fakir, alternatively known as Lalon Shah, who lived in the 19th century in and around Kushtia, is considered to be the greatest of all bauls. The Baul (Bengali: বাউল) are a group of mystic minstrels of mixed elements of Sufism and Vaishnavism from Bangladesh and the neighboring Indian states of West Bengal, Tripura and Assam's Barak Valley and Meghalaya. Bauls constitute both a syncretic religious sect and a musical tradition. Bauls are a very heterogeneous group, with many sects, but their membership mainly consists of Vaishnava Hindus and Sufi Muslims.[1][2] They can often be identified by their distinctive clothes and musical instruments. Lalon Shah is regarded as the most celebrated Baul saint in history. Although Bauls constitute only a small fraction of the Bengali population, their influence on the culture of Bengal is considerable. In 2005, the Baul tradition of Bangladesh was included in the list of Masterpieces of the Oral and Intangible Heritage of Humanity by UNESCO. The music of the Bauls, Baul Sangeet, is a particular type of folk song. Their music represents a long heritage of preaching mysticism through songs in Bengal. Bauls pour out their feelings in their songs but never bother to write them down. Theirs is essentially an oral tradition. It is said that Lalon Fakir (1774 -1890), the greatest of all Bauls, continued to compose and sing songs for decades without ever stopping to correct them or put them on paper. It was only after his death that people thought of collecting and compiling his repertoire. Their lyrics intertwine a deep sense of mysticism, a longing for oneness with the divine. An important part of their philosophy is "Deha tatta", a spirituality related to the body rather than the mind. They seek the divinity in human beings. Metaphysical topics are dwelt upon humbly and in simple words. They stress remaining unattached and unconsumed by the pleasures of life even while enjoying them. To them we are all a gift of divine power and the body is a temple, music being the path to connect to that power.[14][15] A consistent part of Bauls' lyrics deals with body-centered practices that aim at controlling sexual desire. The esoteric knowledge of conception and contraception is revealed in the lyrics of the songs through an enigmatic language that needs to be decoded by the guru in order to be understood and experienced. Besides traditional motifs drawn from the rural everyday life, Baul songs have always been inclined to incorporate change and keep pace with social and economic innovations. For instance, modern Baul compositions discuss esoteric matters by using the terminology of modern, urban and technological lexicons, and it is not unusual to hear Baul refrains containing mobile phones, radio channels, football matches and television. Bauls use a number of musical instruments: the most common is the ektara, a one-stringed "plucked drum" drone instrument, carved from the epicarp of a gourd, and made of bamboo and goatskin. Others include the dotara, a long-necked fretless lute (while the name literally means "two stringed" it usually has four metal strings) made of the wood of a jackfruit or neem tree; besides khamak, one-headed drum with a string attached to it which is plucked. The only difference from ektara is that no bamboo is used to stretch the string, which is held by one hand, while being plucked by another.Drums like the duggi, a small hand-held earthen drum, and dhol and khol; small cymbals called khartal and manjira, and the bamboo flute are also used. Ghungur and nupur are anklets with bells that ring while the person wearing them dances. জীবন নদীর ঘূর্ণিপাকে আর কতকাল খেয়া মন জীবন নদীর জীবন নদীর ঘুর্ণি পাকে আর কতকাল বাইবি খেয়া মন জীবন নদীর ঘুর্ণি পাকে আর কতকাল বাইবি খেয়া জীবন নদীর ঘুর্ণি পাকে আর কতকাল নদীর তীর ঘেঁষে আর নদীর এই জীবন নদীর ঘুর্ণি পাকে এই নদীর এই নদীতে যে নদীর নদীর কাছে ও নদীর নদীর তীরে একই নদীর এক নদীর এ নদীর জীবন নদীর ঘুর্ণি ঝরে নদীর কূলে কূলে ঘূর্ণিপাকে নদীর চরে নদীর চর নদীর মত নদীর মতো জীবন ছিল জীবন নদীর ঘুর্ণি পাকে আর কতকাল বাইবি খেয়া বল জল ঝরিয়ে দিন৷ তখন এই নদীর নদীর ধার দেখা যায় আমাদের নদীর ধারের থেকে নদীর থেকে অনেক নদী নদীর ধারে নদীর পূর্ব পারে যে নদী নদীর পারে সাগরপারে মানুষের জীবন নদীর সাথে যাওয়ায় নদী যাওয়ায় নদী প্রবাহিত নদীর পাড়ে