The Soulful Nirgun Songs of Banaras: Mystic Melodies of Formless Divinity

Nirgun songs, meaning “without attributes,” celebrate a formless, transcendent divinity, rejecting the anthropomorphic depictions of gods in favor of an abstract, all-encompassing spirit. Inspired by the Bhakti and Sufi traditions, these songs draw heavily from the works of mystic poets like Kabir (15th century) and Ravidas, both associated with Varanasi. Their verses, written in local dialects like Bhojpuri and Awadhi, explore themes of inner awakening, equality, and the futility of ritualistic dogma, offering philosophical depth that resonates across centuries.

Musically, nirgun songs blend the raw simplicity of folk melodies with the intricate nuances of classical ragas. Accompanied by instruments like the ektara, sarangi, harmonium, and tabla, these songs feature soulful tunes and repetitive structures, inviting listeners into a meditative state. The lyrical content, often paradoxical and introspective, challenges societal norms, as seen in Kabir’s famous doha: “Pothi padh padh jag mua, pandit bhaya na koye / Dhai akshar prem ke, padhe so pandit hoye” (Reading scriptures doesn’t make one wise; true wisdom comes from the two letters of love).

Kabir, a weaver-poet who lived in Banaras, is the most iconic figure behind nirgun songs. His poetry, preserved in the Bijak and oral traditions, critiques religious orthodoxy and celebrates a formless divine accessible to all. Songs like Jhini Jhini Bini Chadariya use metaphors of weaving to describe the human soul’s journey, blending folk rhythms with philosophical insight. Kabir’s legacy thrives in Banaras’s Kabir Chaura, where singers perform his dohas in nirgun style, accompanied by simple percussion.

Ravidas, a cobbler-saint and contemporary of Kabir, contributed equally profound verses. His songs, such as Begampura, envision a utopian world free of caste and inequality, reflecting his devotion to a formless god. Ravidas’s nirgun bhajans, often sung at his birthplace near Banaras, combine folk melodies with classical touches, creating a universal appeal that transcends social barriers.

In Banaras, nirgun songs are more than music; they are a spiritual practice and social commentary. Sung at gatherings in temples, ashrams, and ghats like Assi and Manikarnika, these songs foster introspection and unity among listeners. Their emphasis on equality aligns with Banaras’s syncretic culture, where Hindu, Muslim, and other communities share in the mystic tradition. Nirgun performances often draw diverse crowds, reflecting the poets’ vision of a casteless, creedless spirituality.

Events like the Kabir Mahotsav, held annually in Varanasi, celebrate this tradition, with artists performing nirgun songs alongside discussions of Kabir’s philosophy. These gatherings highlight the songs’ enduring relevance, addressing modern issues like social justice through ancient verses.

Nirgun songs in Banaras uniquely fuse folk and classical elements. The folk influence comes from their rustic melodies and local dialects, making them accessible to rural and urban audiences alike. Classical elements, drawn from the Banaras Gharana, appear in the use of ragas like Bhairavi or Yaman and intricate rhythmic patterns on the tabla. Artists like Pt. Kumar Gandharva, inspired by Banaras’s nirgun tradition, elevated these songs to classical stages, blending them with khayal and thumri styles.

Local singers in Banaras, such as those in Kabir Chaura, maintain the folk essence, using minimal instrumentation to emphasize the lyrics’ philosophical depth. This balance of simplicity and sophistication makes nirgun songs a distinctive part of Varanasi’s musical heritage.

Nirgun songs continue to evolve in Banaras, with modern artists and platforms keeping them alive. Singers like Prahlad Singh Tipanya and Malini Awasthi perform nirgun bhajans at national and international venues, blending traditional melodies with contemporary arrangements. Platforms inspired by Mamta Music Banaras occasionally offer remixed versions of nirgun songs, adding electronic beats to appeal to younger listeners, though purists argue this risks diluting their spiritual essence.

Challenges include the declining number of traditional singers and the dominance of commercial music. However, initiatives like the Kabir Project and Banaras-based NGOs document and teach nirgun songs, ensuring their preservation. UNESCO’s designation of Varanasi as a “City of Music” in 2015 has also spotlighted these mystic melodies, encouraging their revival.

Prahlad Singh Tipanya: A Banaras-inspired folk singer whose Kabir bhajans carry nirgun’s philosophical weight.



Malini Awasthi: Her renditions of nirgun and folk songs blend tradition with modern appeal.



Local Artists: Singers in Kabir Chaura, like Ramu Chacha, who perform nirgun dohas at ghats and festivals.

Nirgun songs in Banaras, inspired by the mystic poetry of Kabir and Ravidas, are a timeless celebration of formless divinity, blending folk simplicity with classical depth. From the ghats of the Ganges to global stages, these melodies carry Varanasi’s spiritual and philosophical legacy. As Banaras continues to sing, nirgun songs remain a beacon of truth, inviting all to seek the divine within.