Lalon & Tantrism

Baul and Tantra

Understanding Lalon’s relationship with Tantra lies within the syncretic landscape of Bengal’s religious culture in the rural zones. From the 16th century onwards, Bengal saw the flowering of Sahajiya Vaishnavism, which integrated Tantric rituals with Bhakti devotion. In this tradition, the body is not an impediment but the very field of divine realisation. Meanwhile, Sufi Islam of the rural variety offered mystical paths grounded in love, detachment, and inwardness.  Bauls, influenced by both these streams, formed a counterculture that was informal and anti-establishment in nature, opposing mainstream religious ideas. In this, Tantricism played a critical role.

Tantric Elements in Baul Philosophy

1. The Body as a Sacred Text (Dehatotto)

Bauls adopted Tantric philosophy in their interpretation of the body, which they saw as having two forms. The first is the physical or gross body (sthula sarira), comprising the skeleton, muscles, and internal organs. This body is also considered enigmatic, featuring nine or ten openings: two ears, two nostrils, two eyes, one mouth, one anus, and one sexual organ. The tenth opening is more ambiguous in Baul theology—it may refer to the vagina or a symbolic lotus with two petals located between the eyebrows.

The second form is the subtle or incorporeal body “suksma sarira”, which aligns with Tantric tradition. It includes a system of chakras (energy centers) positioned along the spinal column from the perineum to the crown of the head. These chakras are imagined as lotuses with different numbers of petals and are often referenced in Baul songs by their petal counts.

2. Chakras

The seven primary chakras in ascending order are:

1. Muladhar chakra at the base of the spine (four petals)
2. Svadhisthan chakra in the genital area (six petals)
3. Manipur chakra at the navel (ten petals)
4. Anahata chakra at the heart (twelve petals)
5. Visuddha chakra at the throat (sixteen petals)
6. Ajna chakra between the eyebrows (two petals)
7. Sahasrar chakra at or above the top of the head (a thousand petals)

Muslim Bauls also explained the body using the concept of mokams (Arabic maqamat, meaning “stations” or “stages”). The Sufis in Bengal equate four of these mokams with the muladhar, manipur, ajna, and anahata chakras. Additionally, they include a fifth mokam-la mokam, which corresponds to either the sahasrar or ajna chakra. La mokam, or “no place,” which, according to them, represents a “transcendent realm where all dualities dissolve into the Supreme.”

The subtle body is also believed to consist of numerous energy channels or naps, which carry breath. As in Hindu and Buddhist Tantrism, three primary channels are emphasised in Baul practice: Ira (left of the spine), Pingala (right), and Susumna (center). These are associated with the sacred rivers Ganga, Yamuna, and Sarasvati. Their confluence occurs in the muladhar chakra, a point called Triveni, which is vital in spiritual practice (sadhana).

Baul sadhana aims to reverse the cosmic process and return to the Sahaj state, a non-dualistic, original condition predating creation. Within each individual, male and female principles (Purusha and Prakriti or Shakti) coexist, mirroring the universe. The male essence, symbolised by semen, resides in the sahasrar chakra at the crown of the head. Here, the Supreme exists in a formless, unified state as the Atal Ishwar (motionless Lord). In this state, dualities like devotee and deity, or enjoyer and enjoyed, cease to exist.

To succeed in sadhana, one must master six internal enemies—lust, anger, greed, attachment, pride, and jealousy—as well as ten sensory functions (five of perception and five of action). Lust (kama), personified by the god Kama or Madan, is seen as the most significant obstacle. To transform lust into divine love (prema), male practitioners visualise themselves as women. This symbolic gender transformation is believed to remove sexual desire from union with a woman.

The active form of the Supreme, called Sahaj Manush or Adhor Manush, is said to manifest in the muladhar chakra during a woman’s menstruation. At this time, Bauls engage in sadhana to “catch” this presence through sexual intercourse. The explicit involvement of menstruation and symbolic gender inversion in these practices may be viewed as unconventional or transgressive, and their theological justifications remain open to critical inquiry.

3. Sexuality

Sexuality is central to the Baul pursuit of Adhor Manush, or ultimate reality. Like Tantrics, Bauls believe that divine love can be accessed through the physical union of man and woman. The Baul conception of divinity is eclectic, referring to it by names such as Allah, Ahad (“the One”), Krishna, Man of the Heart, Uncatchable Moon, Unknown Man, Natural Man (Sahaj Manus), Uncatchable Man, Golden Friend, Unknown Bird, or simply Lord (Shai).

Regardless of the name used, Bauls deliberately employ cryptic language, creating barriers to prevent external probing of their culture. Their songs are designed to conceal the rituals’ meanings from the uninitiated, who might misinterpret them or find them offensive, while simultaneously offering insight to the enlightened. This vagueness, often described as protective, can also serve to avoid accountability or external critique, especially concerning practices involving female sexuality.

Baul songs contain two kinds of paradoxes: those that underscore the indescribable, paradoxical nature of the Sahaj state, and those that hide esoteric teachings awaiting interpretation. Although their meanings can be obscure, the songs’ supposed clarity and poetic energy are often claimed to resonate with both spiritual and everyday experiences. However, such interpretations can romanticise ambiguity and obscure the socially contentious aspects embedded within them.

Tantric and Sahajiya Imagery in Lalon Fakir’s Songs

Lalon’s compositions incorporate a range of motifs drawn from Tantric and Sahajiya traditions, particularly those associated with Sahajiya Buddhism and Vaishnavism. These schools emphasise direct experience over textual knowledge, promoting the idea that the human body itself is the primary site of spiritual realisation. The Sahajiya approach positions the body not as an obstacle, but as a medium through which one can access inner truth. This perspective is echoed in Lalon’s lyrics, which often depict the body as a vessel, cage, or house containing an elusive spiritual essence.

A commonly cited metaphor is that of the “unknown bird”, a recurring symbol in both Sahajiya and earlier Tantric texts such as the Charyapada. One of Lalon’s well-known verses states: “How does the unknown bird go / into the cage and out again? / If I could catch it, / I would tie my heart’s fetter to its feet.” In this song, the “bird” is the soul or inner consciousness, and the “cage” represents the human body. The verse reflects a broader Tantric notion that the self or soul is not external but embedded within the body. That spiritual practice involves recognising and uniting with this internal presence.

Lalon also draws on symbolic language that references the body’s structure in spiritual terms. In the same song, he refers to the body as having “eight rooms and nine locked doors,” a concept that aligns with traditional Tantric interpretations of the body’s energy centers or chakras. These metaphors suggest an engagement with esoteric anatomy, though they remain deeply allegorical and open to speculative readings.

Additionally, elements such as rivers, boats, and crossings recur throughout Lalon’s songs. These symbols have long-standing associations in Tantric /Vajrayana Buddhist traditions, where they often represent the transition from ignorance to realisation. In Lalon’s work, such imagery appears in verses like: “Carry me across to the other shore.” Here, the river becomes a symbol of life or illusion, and the crossing represents the journey toward spiritual clarity. However, rather than advocating formal ritual, Lalon attributes this crossing to the guidance of a guru, a figure central to both Tantric and Bhakti traditions. The guru is depicted as the “boatman” capable of navigating the river, reflecting reliance on charismatic authority rather than institutional systems.

Social Critique Through a Tantric Lens

Lalon stands out for his unconventional application of Tantric principles as a tool for social critique. Traditionally, Tantra has been associated with esoteric rituals and was often confined to small groups of practitioners within Hindu and Buddhist traditions. Lalon, however, integrated Tantric themes into everyday life, making them more widely available outside elite religious or scholarly circles, though not without simplification or reinterpretation.

Unlike classical Tantric rituals often practised in temples or secluded settings, Lalon’s messages were/delivered through music and song in informal, public spaces such as village courtyards, marketplaces, and tea stalls. Through this approach, he introduced spiritual and philosophical ideas, such as the nature of self, illusion, and social norms, into broader public discourse.

A recurring theme in Lalon’s work is his critique of the caste system, of which he was himself a victim. In one song, he questions the notion of inherent purity tied to birth and the logic and spiritual relevance of caste-based discrimination.  He used everyday examples to challenge the idea that spiritual purity is tied to social hierarchy. However, the broader societal impact of these critiques remains difficult to measure and is not extensively documented.

A Non-Ritualistic Approach to Tantra

Lalon’s interpretation of Tantra diverged significantly from classical forms. Traditional Tantric practices often involve ritual elements such as yantras (mystical diagrams), mantras (sacred sounds), and mudras (symbolic hand gestures). In contrast, Lalon’s teachings were primarily oral and performance-based, communicated through song and communal interaction.

Central to this spiritual model was the Akhra—a gathering space that functioned as a site for both communal living and philosophical exchange. It operated without a formal religious hierarchy and welcomed people regardless of caste, gender, or religious background. However, such openness in principle does not automatically translate into egalitarianism in practice, and internal dynamics of power and authority within these spaces remain underexamined.

Unlike temples or monastic institutions, the Akhra served as a space for collective dialogue, performance, and reflection. His songs often combined vocabulary from Bangla, Arabic, Sanskrit, and Persian and were accompanied by instruments such as the ektara, duggi, and khamak, traditionally of rural origin.

Core Practices                      

Singing as meditation: Songs were used as a form of contemplation, aligning breath and sound to promote internal awareness.

Sanglap (dialogue): Regular philosophical discussions allowed members to interpret spiritual ideas collectively and evolve them over time.

Communal living: The Akhra emphasised shared meals, labour, and caregiving, creating a setting that challenged traditional social hierarchies.

Although his approach lacked formal ritual, it maintained an emphasis on spiritual discipline. Rather than rejecting sacred practice altogether, Lalon’s method reinterpreted ritual through everyday action, music, and collective experience. However, whether such reinterpretation retains the depth and structure of traditional Tantric systems is debatable.

Position Outside Organised Religion         

Lalon’s teachings were notably independent of formal religions. He avoided formal affiliation with any religious institution, advocating instead for direct spiritual experience. In this context, his version of Tantra centered on the individual’s exploration rather than prescribed doctrine or ritual expertise. While often described as spiritually inclusive, this approach may also risk interpretive looseness and lack the safeguards that come with institutional accountability.

Lalon’s adaptation of Tantric ideas reflects a broader movement toward spiritual democratisation. He introduced a more accessible path rooted in dialogue, music, and everyday life. However, because of their sexual practices, Bauls were never fully open about this aspect of their Tantric life. This concealment, while claimed to protect the sanctity of the practice, also suggests a recognition of its potential to provoke public discomfort or moral backlash.