Singing, requiring breath control and concentration, is associated with yoga. The sonic dimension of songs is related to cosmogonic vibration, seed, food, and feminine bodily fluids.
“Songs are knowledge” (gāne jñān) is a recurrent saying among Bauls, Fakirs, Sahajiyas, and other Bengali esoteric and heterodox communities. In addition to his written text, the information gathered through the field observation and interview has been used as need. In this article, the nature and uniqueness of Khada Box Sai’s Shyama Sangeet have been analyzed from the point of view of folk culture. As a result, Krishna’s group songs, Vaishnava songs, and Shyama songs have a special space in his music. There may be other reasons too, and that is after initiation in Baulm, he stayed in the homes of manyHindu people and made sadhusango with them. He has freed himself from communal discrimination and has revealed his own identity by composing and performing music in the style of Hindu, Vaishnava, and Shakta verses. After his debut as a Baul, a kind of change took place in his ideology. Khoda Box Sai was a Muslim by birth was a follower of Islam. Especially his Shyama music has special features. Like Lalon, Khoda Box Sai’s songs are also varied. In the Post-Lalon period, Khoda Box Sai(1928-1990) has a prominent position in genre of Baul music in Bangladesh.
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