Hemango Biswas (1912–1987), a renowned communist activist, composer, and intellectual, wielded music as a tool for political engagement, aiming to reach the masses with his revolutionary ideas. His work drew from the rich and diverse folk traditions of India, and Bangladesh, blending elements from these regions to create a politically motivated form of musical expression. Through his compositions, Biswas translated revolutionary songs from various movements, adapting them with traditional Indian and Bangladeshi folk melodies to form a complete, unified musical narrative. For him, the translation of Ganasangeet (people’s music) was a deliberate intervention—a transformation that elevated a folk song from a regional into an international context—making it both a local and cross-border means of resistance. Biswas’s music stood as a critique of feudalism, imperialism, and fascism, aligning closely with his political activism. His compositions were not just artistic expressions, but part of a larger movement for social change. His work constructed an imaginative space of Desh (homeland) while promoting a vision of international solidarity among oppressed peoples. In Biswas’s view, folk music was not confined to a particular Gharana (traditional school of music) nor was it limited by any formalized system of music instruction. Rather, he coined the term Bahirana, which implies an openness to the world and the creation of verses of the music that carry landscape, people, and their distinct nature. This concept of Bahirana offers a unique lens through which to view his work—not merely as music, but as a dynamic and inclusive aesthetic, a reflection of the people’s collective consciousness and their lived experiences. This paper seeks to examine the notion of Bahirana, considering it as an aesthetic shift that not only redefines the role of music but also constructs a space for imagining the Desh and the Lok—the world and its people. It highlights how Biswas’s work transcends local boundaries and speaks to broader struggles, connecting regional contexts with greater movements for justice. In addition, the paper examines the genre of Ganasangeet as a mode of communication that bridges the urban and rural divide, facilitates dialogue between the middle class and working class, and navigates the intersection of regional and cross-border identities. By tracing these intersections, the paper aims to understand how Biswas’s Ganasangeet emerged not just as a form of political protest but as an aesthetic and communicative tool that unified diverse communities, fostering solidarity through music. In examining Ganasangeet as both a regional and international medium of resistance, the paper explores how Biswas’s music catalyzed collective action and forged a collective consciousness that resonated beyond geographical, social, and class divides.

Aesthetics of Bahirana: People, Perspectives, and Protest in Music

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发表日期：

2026年

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Mrinmoy Pramanick

摘要

Hemango Biswas (1912–1987), a renowned communist activist, composer, and intellectual, wielded music as a tool for political engagement, aiming to reach the masses with his revolutionary ideas. His work drew from the rich and diverse folk traditions of India, and Bangladesh, blending elements from these regions to create a politically motivated form of musical expression. Through his compositions, Biswas translated revolutionary songs from various movements, adapting them with traditional Indian and Bangladeshi folk melodies to form a complete, unified musical narrative. For him, the translation of Ganasangeet (people’s music) was a deliberate intervention—a transformation that elevated a folk song from a regional into an international context—making it both a local and cross-border means of resistance. Biswas’s music stood as a critique of feudalism, imperialism, and fascism, aligning closely with his political activism. His compositions were not just artistic expressions, but part of a larger movement for social change. His work constructed an imaginative space of Desh (homeland) while promoting a vision of international solidarity among oppressed peoples. In Biswas’s view, folk music was not confined to a particular Gharana (traditional school of music) nor was it limited by any formalized system of music instruction. Rather, he coined the term Bahirana, which implies an openness to the world and the creation of verses of the music that carry landscape, people, and their distinct nature. This concept of Bahirana offers a unique lens through which to view his work—not merely as music, but as a dynamic and inclusive aesthetic, a reflection of the people’s collective consciousness and their lived experiences. This paper seeks to examine the notion of Bahirana, considering it as an aesthetic shift that not only redefines the role of music but also constructs a space for imagining the Desh and the Lok—the world and its people. It highlights how Biswas’s work transcends local boundaries and speaks to broader struggles, connecting regional contexts with greater movements for justice. In addition, the paper examines the genre of Ganasangeet as a mode of communication that bridges the urban and rural divide, facilitates dialogue between the middle class and working class, and navigates the intersection of regional and cross-border identities. By tracing these intersections, the paper aims to understand how Biswas’s Ganasangeet emerged not just as a form of political protest but as an aesthetic and communicative tool that unified diverse communities, fostering solidarity through music. In examining Ganasangeet as both a regional and international medium of resistance, the paper explores how Biswas’s music catalyzed collective action and forged a collective consciousness that resonated beyond geographical, social, and class divides.