Album Review - Krishnokoli–Bunoful
Krishnokoli – Bunoful
by Faizul Khan Tanim
Indigenous music is one of the only forms of organic folk compositions left which takes us to earthen realities, enjoy congenital mysticism and spontaneous combustions. These expressions somehow embody the beauty and significance of ‘wild flowers’. And wild flower (Bunoful) is precisely the name of the album I’m listening to, singer Krishnokoli’s latest studio compilation. This anthology is composed of indigenous folk music - Santali and Jhumur songs - which necessarily do not have great instrumental technicalities, psychedelic compositions but they do possess atmospheric diffusions, powerful words and most importantly, the vocalist, with her magnetism of vocal chords, urgently tries to transport the listeners to a realm where the jhumur dance dawns from the cluster of bells worn round the ankles (jhumur). Her songs and tunes have direct associations with particular festivals, love and everyday conversations. The rest is up to the audience...their perception and absorption and on how much they want to imagine and experience.
These songs have their ethnic and rare appeal... hence the lyrics are simple in their own complex structures spreading aromas of socio-political messages, inner strength, inner peace and rebellion against wrong. And the perfect example is the last track Santal Korechhey Bhogobaan. The lyrics is so simple yet so powerful – Amay Santal korechhey Bhogobaan goo, amay manush koreni Bhogobaan. Ami jodi daktar hotam, koto lok ke fur-he ditam, pochish taka visit litam, barto koto man goo – meaning God has made me a Santal and not a human. If I were a doctor, I would’ve cured so many patients and it would increase my self-esteem and self-respect by miles and I would just charge 25 taka for my services.
The songs, and of course the one mentioned above, captures the essence of homegrown authenticity... something which reminds me of Omar Khayyam’s Rubaiyat talking about the beauty of innocence, summarizing poetry of propriety - I desire only a little ruby wine and a book of verses, just enough to keep me and you alive, and only half a loaf is needful; And then, that I and you should sit in a desolate place and it is better than the realm of a sultan’s palace.
Santals are an ethnic group in Bangladesh, mainly living in the Himalayan sub-mountain region in different districts of Rajshahi division. Their principal home is in Radha (West Bengal), the forests of adjacent Bihar (Jhadkhand) and Orissa, and Chhota Nagpur. Traditional Santal tunes can be heard in many of their villages, especially during their festivals. The santals traditionally accompany many of their dances with two percussion intruments /drums: the Tamak and the Tumdak. The flute and Madol (percussion instrument) are also considered very important traditional instruments and still evoke feelings of nostalgia for many. In this album, Madol was vigorously used along with Esraaj, Flute, Dotara and more.
The Jhumur songs from this album (track 3 Kalo joley kujola toley and track 8 Bakura bajar-e laaj lagerey) are from Bakura of West Bengal. These songs originally incorporate dance and dialogues, illustrating the joys and grievances, yearning and aspirations of everyday lives of the common people. It is believed that Jhumur was originally a means of recreation between phases of tedious agricultural work. It is also believed that this dance form has also been adopted by the Santals. And in the album, these are happy songs - what makes them more chirpy is the sensual voice of Krishnokoli.
Krishnokoli – Bunoful (3.5 stars/5) - http://www.theindependentdigital.com/index.php?opt=view&page=34&date=2013-06-13
by Faizul Khan Tanim
Indigenous music is one of the only forms of organic folk compositions left which takes us to earthen realities, enjoy congenital mysticism and spontaneous combustions. These expressions somehow embody the beauty and significance of ‘wild flowers’. And wild flower (Bunoful) is precisely the name of the album I’m listening to, singer Krishnokoli’s latest studio compilation. This anthology is composed of indigenous folk music - Santali and Jhumur songs - which necessarily do not have great instrumental technicalities, psychedelic compositions but they do possess atmospheric diffusions, powerful words and most importantly, the vocalist, with her magnetism of vocal chords, urgently tries to transport the listeners to a realm where the jhumur dance dawns from the cluster of bells worn round the ankles (jhumur). Her songs and tunes have direct associations with particular festivals, love and everyday conversations. The rest is up to the audience...their perception and absorption and on how much they want to imagine and experience.
These songs have their ethnic and rare appeal... hence the lyrics are simple in their own complex structures spreading aromas of socio-political messages, inner strength, inner peace and rebellion against wrong. And the perfect example is the last track Santal Korechhey Bhogobaan. The lyrics is so simple yet so powerful – Amay Santal korechhey Bhogobaan goo, amay manush koreni Bhogobaan. Ami jodi daktar hotam, koto lok ke fur-he ditam, pochish taka visit litam, barto koto man goo – meaning God has made me a Santal and not a human. If I were a doctor, I would’ve cured so many patients and it would increase my self-esteem and self-respect by miles and I would just charge 25 taka for my services.
The songs, and of course the one mentioned above, captures the essence of homegrown authenticity... something which reminds me of Omar Khayyam’s Rubaiyat talking about the beauty of innocence, summarizing poetry of propriety - I desire only a little ruby wine and a book of verses, just enough to keep me and you alive, and only half a loaf is needful; And then, that I and you should sit in a desolate place and it is better than the realm of a sultan’s palace.
Santals are an ethnic group in Bangladesh, mainly living in the Himalayan sub-mountain region in different districts of Rajshahi division. Their principal home is in Radha (West Bengal), the forests of adjacent Bihar (Jhadkhand) and Orissa, and Chhota Nagpur. Traditional Santal tunes can be heard in many of their villages, especially during their festivals. The santals traditionally accompany many of their dances with two percussion intruments /drums: the Tamak and the Tumdak. The flute and Madol (percussion instrument) are also considered very important traditional instruments and still evoke feelings of nostalgia for many. In this album, Madol was vigorously used along with Esraaj, Flute, Dotara and more.
The Jhumur songs from this album (track 3 Kalo joley kujola toley and track 8 Bakura bajar-e laaj lagerey) are from Bakura of West Bengal. These songs originally incorporate dance and dialogues, illustrating the joys and grievances, yearning and aspirations of everyday lives of the common people. It is believed that Jhumur was originally a means of recreation between phases of tedious agricultural work. It is also believed that this dance form has also been adopted by the Santals. And in the album, these are happy songs - what makes them more chirpy is the sensual voice of Krishnokoli.
Krishnokoli – Bunoful (3.5 stars/5) - http://www.theindependentdigital.com/index.php?opt=view&page=34&date=2013-06-13
Comments
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