The Meditative Power of Nirgun Songs in Banaras: A Spiritual Journey

Nirgun songs, meaning “without attributes,” focus on a formless, universal divinity, free from the constraints of physical idols or religious boundaries. Rooted in the Bhakti movement, they draw from the poetry of Kabir and Ravidas, who lived in or near Banaras during the 15th and 16th centuries. Their verses, such as Kabir’s “Man tu paar utar jaaye” (O mind, cross to the other shore) or Ravidas’s “Tohi Mohi, Mohi Tohi” (You and I are one), urge listeners to seek the divine within, fostering a meditative state through introspection.

Sung in dialects like Bhojpuri and Awadhi, nirgun songs use simple yet profound lyrics to convey universal truths. Their repetitive melodies, often set to ragas like Bhairavi or Malkauns, create a hypnotic rhythm, guiding listeners into a contemplative space where the ego dissolves, aligning with Banaras’s spiritual ethos as a city of liberation.

Nirgun songs are a cornerstone of meditative practices in Banaras, performed in settings that enhance their spiritual impact. At dawn, singers gather at ghats like Assi or Manikarnika, their voices blending with the Ganges’ gentle flow. These performances, accompanied by the ektara’s single-string drone or the harmonium’s soulful chords, create an atmosphere of serenity, drawing listeners into a meditative trance.

In ashrams and temples, such as those in Kabir Chaura or near Ravidas Mandir, nirgun songs are sung during spiritual retreats, where devotees meditate on the lyrics’ philosophical depth. Songs like Kabir’s “Jhini Jhini Bini Chadariya” (The delicate cloth of life) serve as metaphors for the soul’s journey, encouraging mindfulness and detachment. These gatherings, often led by local gurus or folk singers, transform music into a tool for spiritual awakening.

The meditative power of nirgun songs lies in their unique fusion of folk and classical elements. The folk influence is evident in their accessible melodies and minimalistic instrumentation—ektara, manjira, and dholak—designed to evoke emotional resonance. Classical elements, drawn from the Banaras Gharana, include subtle use of ragas and intricate rhythmic patterns, adding a layer of sophistication that enhances the songs’ contemplative quality.

Performers like Prahlad Singh Tipanya balance these elements, using folk simplicity to convey Kabir’s directness while incorporating classical nuances to deepen the meditative experience. In Banaras, local singers at ghats or festivals maintain this balance, ensuring the music remains both spiritually potent and accessible to all.

Nirgun songs embody Banaras’s spiritual identity, where the quest for moksha (liberation) is a way of life. Their focus on formless divinity aligns with the city’s syncretic culture, blending Hindu and Sufi mysticism. Sung in diverse settings—from the bustling Kabir Mahotsav to quiet ashram gatherings—these songs create a shared space for reflection, uniting listeners in a collective pursuit of truth.

The philosophical depth of nirgun songs, rooted in Kabir’s and Ravidas’s teachings, challenges materialism and dogma, offering timeless wisdom for modern seekers. Their meditative quality makes them a staple in Banaras’s yoga and spiritual communities, where music becomes a bridge to inner peace.

Nirgun songs continue to inspire through modern interpretations. Artists like Malini Awasthi perform nirgun bhajans at cultural festivals, blending them with contemporary arrangements to reach new audiences. While platforms like Mamta Music Banaras focus on popular genres, some artists experiment with nirgun remixes, adding ambient sounds to enhance their meditative appeal, though purists emphasize preserving their traditional form.

Digital platforms, such as YouTube, share recordings of nirgun performances from Banaras’s ghats, reaching global spiritual communities. Challenges like urbanization and declining traditional patronage persist, but organizations like the Kabir Project and Banaras Hindu University’s music programs train young artists, ensuring the tradition’s continuity. UNESCO’s 2015 “City of Music” designation has further highlighted nirgun songs, supporting their preservation through festivals and documentation.

Prahlad Singh Tipanya: A folk singer whose Kabir bhajans evoke deep meditation.



Malini Awasthi: Her nirgun renditions blend spiritual depth with modern flair.



Shivani Devi: A ghat-side performer whose soulful nirgun songs captivate devotees.

Nirgun songs in Banaras, inspired by Kabir and Ravidas, are a meditative journey into the heart of formless divinity. Their blend of folk simplicity and classical depth creates a spiritual experience that resonates through Varanasi’s ghats and ashrams. As Banaras continues to sing, nirgun songs remain a timeless invitation to seek truth within, guiding listeners toward peace and enlightenment.

Experience the meditative power of nirgun songs at Assi Ghat’s dawn performances or during Kabir Mahotsav.