Nirgun Songs of Banaras: Voices of Social Reform and Philosophical Depth

Nirgun songs, meaning “without form,” celebrate a divine essence unbound by idols, temples, or religious divisions. Rooted in the Bhakti movement, they draw from the revolutionary poetry of Kabir and Ravidas, who lived in or near Banaras during the 15th and 16th centuries. These songs reject caste, creed, and ritualistic dogma, emphasizing a universal truth accessible to all. Kabir’s verses, like “Moko kahan dhunde re bande, main toh tere paas mein” (Where do you search for me? I am within you), challenge external worship, urging listeners to seek divinity within.

Ravidas’s nirgun songs, such as “Tohi Mohi, Mohi Tohi, Antar Kaisa” (You and I are one, what difference remains?), advocate for social equality, reflecting his identity as a Dalit saint. Sung in Bhojpuri or Awadhi, these songs resonate with Banaras’s masses, blending philosophical depth with accessible, emotive lyrics that critique societal hierarchies.

Nirgun songs have long been a vehicle for social change in Banaras. Kabir, a weaver, and Ravidas, a cobbler, used their poetry to challenge caste oppression and religious orthodoxy, making nirgun songs a voice for the marginalized. Sung in community gatherings at places like Kabir Chaura or Ravidas’s birthplace near Seer Goverdhanpur, these songs foster solidarity among diverse groups, from laborers to scholars.

In Banaras’s syncretic culture, nirgun songs bridge Hindu and Muslim traditions, reflecting the poets’ rejection of sectarian divides. Performances at ghats like Assi or Kedar, often accompanied by ektara or sarangi, draw mixed audiences, embodying the inclusive ethos of Kabir’s “Sai ko yaad karo, sabka malik ek” (Remember the Lord, the master of all is one). This social impact continues today, with nirgun songs inspiring movements for equality and justice.

The musicality of nirgun songs lies in their seamless fusion of folk and classical elements. The folk influence is evident in their simple, repetitive melodies and use of local dialects, making them relatable to rural and urban listeners. Instruments like the harmonium, tabla, and manjira add rhythmic depth, while classical touches from the Banaras Gharana, such as ragas like Bhairavi or Kafi, lend sophistication. This blend creates a meditative yet accessible sound, inviting listeners to reflect on the lyrics’ philosophical weight.

Artists like Pt. Kumar Gandharva, influenced by Banaras’s nirgun tradition, brought these songs to classical stages, while local singers in Kabir Chaura maintain their folk essence with minimalistic arrangements. This duality ensures nirgun songs appeal to both traditionalists and modern audiences.

Kabir Chaura, a historic neighborhood in Banaras, is a key center for nirgun songs, where hereditary musicians perform dohas and bhajans in community courtyards. The ghats, particularly Assi and Manikarnika, host impromptu nirgun performances, with singers like Ramu Chacha captivating passersby. The annual Kabir Mahotsav, held in Varanasi, celebrates this tradition, featuring nirgun concerts alongside discussions on social reform, drawing global scholars and devotees.

Temples like Ravidas Mandir also host nirgun gatherings, where songs honor the saint’s vision of equality. These venues keep the tradition alive, fostering a dialogue between spirituality and social consciousness.

Nirgun songs remain relevant through modern interpretations. Artists like Prahlad Singh Tipanya and Malini Awasthi perform nirgun bhajans at festivals and on digital platforms, blending them with contemporary styles. Platforms inspired by Mamta Music Banaras occasionally offer remixed nirgun tracks, though such adaptations risk diluting their philosophical essence. Social media, with videos of ghat-side performances, extends their reach to global audiences, particularly the Indian diaspora.

Challenges include the decline of traditional singers and competition from commercial music. However, initiatives like the Kabir Project and Banaras-based NGOs preserve nirgun songs through oral history projects and workshops. UNESCO’s 2015 designation of Varanasi as a “City of Music” has bolstered these efforts, spotlighting nirgun’s cultural significance.

Prahlad Singh Tipanya: A folk singer whose Kabir bhajans inspire social reflection.



Malini Awasthi: Her nirgun renditions blend tradition with modern appeal.



Bhawani Shankar Mishra: A Banaras-based artist known for nirgun performances at local melas.

Nirgun songs in Banaras, inspired by Kabir and Ravidas, are a powerful blend of spiritual philosophy and social reform. Their focus on formless divinity and their fusion of folk and classical elements make them a unique voice in Varanasi’s musical heritage. As these songs echo through Kabir Chaura and beyond, they continue to challenge, inspire, and unite, carrying Banaras’s timeless message of equality and truth.

Discover nirgun songs at the Kabir Mahotsav or join a performance at Assi Ghat to experience their transformative power.