Documentations

Musical Affairs Amidst Land of Desert

Roaming in the grand city of Jodhpur, we came across a wonderful Langha group who had then just arrived from their village, Phalaudi. They were looking for a place to sit and jam since they had an event in the night on the same day. Meanwhile, we had just stepped out of the Mehrangarh Fort and caught glimpse of them setting up. As the group settled Rafeek took a beautiful alaap and began :

Maad dhara ri revodo anokhi -2

Our land and its people are unique

Madhvan meetha ji bole

People who live here speak such sweet language

Ghar ghar hove beeyan badavana

Every house has weddings

Ghar ghar ghoomar dhol

Each house has traditional dances and plays dhol

Mesmerised by the wordings and rhythm of the song we decided to stay longer and get acquaintance with the group and their music. Rafeek told us that he has been singing and performing ever since he was a child with his father. He dreams of getting a chance to sing with singers like Rahat Fateh Ali and Kailash Kher. His group told us that being from a Langha community they mostly sing songs about the brides -grooms, wedding processions and various other occasions. The group is an expert in Rajasthani folk, Sufi and Ghazal forms of singing. The Sufi genre is their favourite owing to the sheer, poetic words of Urdu language. As a group they want to impart musical knowledge to their children but only after they are educated well. They get 10-12 shows per month and earns around Rs.6000 for each show. They are not very educated and so got into music because of financial reasons.

Just like all the families in their communities, music is been carried forward by mostly male members and it is the only source of income in his family. The group feels that are born to do something big and for them, it is the songs which they know they want to do good to them. They want the world to hear their music and know about their culture and traditions. Moreover, they also want their music to be so much heard that people including their children feel inclined towards learning it. Telling us this Rafeek and his group started singing one of their favourite songs –

Saajan aaya re he sakhi

Oh, my friend, my dear husband has come

 Kaaye manwar karan 

How should I welcome him, he has come after so many days

 Areey thaal bharo gaj motiyaan upar nain dhara

I will fill the plate with pearls and shall keep him high

 O maara bhai sonera

O my dear brother

 Maara nindiya lada

O my dear beloved brother

 Laajo maaro gale riyo haar

Bring my necklace

UNDYING PASSION FOR MUSIC

Passion, they say is a great energizer. We are wired in such a way that many times passion and purpose comes together. Kailash Khan is a young folk music artiste. The 25-year-old is passionate and proud to be identified by this genre. His undying passion for the Rajasthani folk music is a contrast of what people his age prefer.

Kailash khan and others in his group are manganiyar. Muslims themselves, their patrons are largely Hindu  Rajputs. They are renowned as highly skilled folk musicians of the Thar desert. Their songs are passed on from generation to generation as a form of an oral history of the desert. In his own words,” The culture of Rajasthan has been recorded through songs. When we are playing folk music, we are telling stories, stories that speak to the human conditions, stories that tell us who we are, stories riddled with anecdotes of love with all its complexities and simplicities. These stories define us as a community. They help us relate to each other.” It is said that on occasion in the Rajput family is ever complete without a Manganiyar. Be it birth, marriage, family festivity, the manganiyars would help evoke the right mood with songs that have a flair of Rajasthan and many specially composed songs to praise the patron and his family.

—

—

Influenced by family traditions and his elders, Kailash khan has been singing since he was a child. He formed his group six years ago. The six group members are from his family itself. They have adapted themselves to play all kinds of instruments. Harmonium, khartaal, Bhapang, Dholak find common use in their performances. Kailash Khan plays the Harmonium which he learnt and developed an affinity towards while he was in school.

He takes pride in the fact that he is related to Daapu Ji- the revered Khamaicha player who is today a sensation and an inspiration among Rajasthani folk musicians. Showing the same dedication and commitment, he aspires to take folk music and the values they represent to a bigger platform. Through his hard work, he has been able to get his group to perform in many notable Indian states and events. Punjab, Mumbai, Delhi, Haryana, Gujarat are a few to name. Within Rajasthan, he has displayed his talent in Udaipur and Jaisalmer. He is nostalgic as he recalls his first performance in Ghuri Resort in Jaisalmer. He believes that their network grew as a result of performing for guests at those resorts. People after listening to him would ask him to sing at their family events and this is when he decided to form his own group. 

Like any other professional singer he has an generous understanding of ragas. Khamaj Raga is immensely used in their music. He says that tradition calls for the beginning of every performance in khamaj raga. When asked about how he learn songs, old and new, his answer is simple. To them, he says, the need to write and then learn songs was never required. Music is so deeply ingrained in their lives that just as little as listening to their elders sing once or twice is enough for them to follow up. However, he feels that technology today has found purpose and use in all fields and as an aspiring artist he doesn’t shy away from deviating from the traditional methods of learning music and using tech and social media to his benefit. They appreciate the fact that technology has made it easy for them to expand their repertoire in folk music.

Besides singing the traditional old folk songs, this young artist has penned down a few songs of his own and composed rhythms and tunes for others. He claims that there are few songs that only he can sing in his community. Reciting Shiv Tandav,  which is a Hindu hymn that describes God Shiva’s power and beauty, is one of his speciality. This is satisfying to observe that though they are Muslims, many of their songs are in praise of Hindu deities where the performer traditionally invokes the Gods and seek their blessing before the recital.

Despite everything, he exclaims that more needs to be done to attract youth towards traditional music. According to him, the youth are the key in the preservation of folk music. This calls for creating space for young talented Rajasthani musicians to keep old-age traditions fresh, but also relevant through music. Although many children come to him to learn music, he feels that the rush towards modernity is dwindling their interest. With more people looking up to Bollywood and western music, their audience and patronage are slacking. With most of his family members being solely into music, they want to build their art into something more sustainable.

Kailash khan envisions a bright future for his group. “ money is not an incentive, I want to take my traditions forward. We want people to see what we do and like it enough. That will truly be encouraging.”

We can’t agree more on the fact that their culture is very rich but some people are clueless about it. This is the time to know deeply about Indian culture through different mediums that are sustainable. Through loving and showing pride in it, the world will come to know of it too.

JOURNEY OF MUSIC FROM FAR DISTANT LANDS…

As an artist, your biggest tool is your effort. Your dedication to your music and talent. Having cultivated a liking for devotional folk music since childhood, this young, yet extremely talented singer has so much depth and breadth to his music that one could go on forever about it.

Cheema Ram comes from a village near the Pakistan border. Though their village has a school, the paucity of resources for him and his companions was evident since childhood. He says he was brought up in a peaceful environment but the constant possibility of skirmishes in the nearby border area added little to the equilibrium of their daily lives. Nevertheless, nothing could deter his desire to learn music. The inspiration which he drew from other singers around him as well as listening to their cassettes in leisure time eventually enabled him to improve his skills as a musician. He went on to win many competitions in his village and outside. He beams with pride when he tells us about Bijirad Music competition where his team was declared best amongst 12 other teams. Today like any other talented artist,  he dreams of becoming a famous devotional folk musician.

Megh (Meghwal) of Rajasthan are known for their expertise in bhajan recitation. By tradition, they are invited by other Hindu families to commence celebrations and auspicious events. They supplement their earnings by taking up secondary occupations like farming, weaving, working at construction sites etc. Cheema Ram’s music largely consists of bhajans about deities like Jagdamba, Shakti Ma, then there are those inspired by Meerabai and Kabir. ‘Gadi satgur ke naam ki’ is his favourite song and he loves singing it at events and ‘Satsangs’. He explains that the recitation sheds light on the Guru-Shishya Parampara that has been the very essence of our country since ages.

pal pal teri umar jaasi

(Every second, you are ageing)

bharti palak tero jug jaasi 

(With every blink of the eye, the years will go)

raama gharhi palak….

ek vaar manva satsang karle

(Oh human, for once, take the name of God with others)

janam chaurasi jooni kat jassi

(Your several lives will be spent in eternal happiness)

chaal sakhi sat sangat chaal

(Come friend, let us go to the ‘Satsang’)

As he takes his seat amongst his four fellow group members, he looks calm, composed and focused. He dons the veena, an instrument that has been given immense importance in Indian history and literature, like a professional.

Although group members are forced to take up jobs at construction sites to make ends meet, they make sure to practice and improve their skills daily. Commitment and consistency are the keys to acquiring an exceptional skill and Cheema Ram seems to be leading by example in this case.

 gaoaa jaaya belaya kamavedin raat 

(The shepherd works day and night, takes the cows and their calves for grazing)

buddha karke bhejiya dayalu bhagvan

(And he ages gracefully, leading a simple and meaningful life, oh merciful God!)

saavra teri maaya ka

(Dear Lord, there is no measure)

payo nahi paar

(of your miracles!)

‘To find a way to happiness, you have to find a teacher that will take you there’ is an old adage. In Cheema Ram’s case, he did not have to go far and wide in search of a mentor. His father, acknowledging his acumen in music, supported him and his dreams. His wish is to see his son doing well in the field of music. And those who have seen him perform know fully well that Cheema Ram is capable enough to make this dream a reality.

Today, his group gets shows locally from relatives in and around his small village. Apart from that, they have performed previously in Mumbai during Navaratras and also in Jodhpur. Having never been recorded before, they say that the initiative taken by Anahad has boosted their morale. And for a talented group like them, it will not be wrong to say that the road ahead seems full of possibilities.

When asked about other groups and the competition they face, he immediately replies that there can never be any animosity among the various groups for they are all the torchbearers of a tradition. He likes to sit with artists from different groups as they perform. Helping and motivating each other is a way of life. ‘Though devotional music is an acquired taste, I’d like to do what I can to help it reach more people’. Indeed Cheema Ram’s style is the perfect amalgamation of devotedness and folksy.

TREASURE OF FOLK MUSIC AMIDST SEA OF SAND

Kalla Khan is from a small village called Bishala in Barmer Rajasthan. From manganiyar community. Also known as mirasi,mahaguniyar or mir. Prevalent in western Rajasthan, Jaisalmer, Bikaner. Royal families are their important patron. They feel that the rajputs or yajmaans as they refer them are the main reason that their folk culture has thrived. Sing for them on important occasions like birth, marriage, old age etc, kesariya balam, , songs from birth till death. New generation less interested in fm, they are busy in business, charts new root for themselves… because youngsters prefer new songs their style of siniging id an amalgamation of the old and new song.

About manganiyar traditional instrument is khamaicha. Going by what elders and locals say the instrument is 500 years old and originated in Pakistan before gaining importance in Ahmadabad(ws made inn these two states). Has not been made since the last 10 generations. But Komal Kothari wanted to teach folk to children , they made new kamaicha, to be given to these children so that they could learn. However, ladies of the community preffered harmonium as their instrument in public events.

He has a family of a mother, 7 brothers, children learning music from him. It is commonly claimed that the music of rajasthan is so imbibed in one’s characteristic that even the crying nof the infants is musical. He contendedly mentions that children as young as 4 or five years old are learning  and doing well in it (taking interest).

Jaha dikha bas chah tu hi

Bas raam ka naam hai

The one who has rhythm in his soul is near to god. Their culture is dependent on yajmaans. But want that it should not vanish.. feels like the younger generation is only acquainted with 25% of the music that this culture has to offer (yangrashaili, dhoda, bhaavan- traditional) . wants them to focus on studies but also cultivate respect for them and learn ithe t.  

Kabir kuan ek hai, panihari anek

Bartan sabke nyaare nyaare

Banda pani sab me ek

Follows all religions. Feels that the value of the soul is above mere traditions and norms that religions bind us in. ‘ I am a muslim. My name is fakir khan. But look at me. People say that I am a Rajput. Even though I perform at their events, I peform in mandirs , at the dargah, they sing about Shiva, Krishna, Mira. Makes bhajan as well.   

Has issues with organizers many a times as they embezzle money. He believes that there should be no mediator in between Guru shishya parampara. He wants signing schools in india so that children can learn music without compromising with their studies.

RECITING POWER OF FOLK MUSIC 

“Music is the easiest method of meditation. Whoever can let himself dissolve into music has no need to seek anything else to dissolve into.” – Osho

Shridhar is from an almost medieval village named Bhadresh, Barmer seems to share and live by similar sentiments. He is 48 years old and belongs to the Meghwal community of Rajasthan. True to what Meghwals are known for, Shridhar with his group aspires to popularize devotional folk music throughout India.

He was born into a family of singers who has been reciting devotional songs for more than three generations now. His singing style too is inspired by his grandfather and father who he says has been a source of motivation throughout his career. With no proper training institutes and almost negligible assistance, his chances of taking up music as a profession were thin. But the paucity of resources could not make him give up his passion. He started by listening to others in Satsangs. Curious as most children are, he would ask elders in his family and society to explain the meaning of the verses. “ I would write down songs with their meanings and try to take in all the values that they imparted. This was essential to connect with my art. Once I got the clarity I could then sing them in my own style.”

Devotional songs or bhajans are sung in specific ragas. A musical note or raga has its own distinct effect and is related specifically to a mood or time of the day. The sacred hymns are sung in adoration of a God. Most of the bhajans recited by Shridhar and his group members are about local deities like Ramdev and saints and seers like Ravidas, Surdas and Meerabai. However, God-realization is not the only aim of singing bhajans. It offers other advantages too. Bhajans and prayers awaken positive vibrations in oneself and in the environment. Bhajans and prayers remove the feeling of animosity or envy that one might have and replaces it with contentment. Through prayer, the devotee begins contemplating. When one sings bhajans and reiterates divine qualities, these qualities take root in the heart, creating an awakening in real life.

harak-harak gun gaya

Let us sing with joy and enthusiasm, the tales of the miracles of God

re vaalena baadava

Wise Guru, you are most welcome, to enlighten us

harak-harak jass gaavaa

And sing with joy and enthusiasm, the tales of the miracles of God

re vaalena baadava

Wise Guru, you are most welcome, to enlighten us

As he takes his seat among his fellow group members, he looks rejuvenated. He starts to sing and the scorching heat of the desert can no longer disturb his equilibrium, it is almost like a saint meditating. Bagga Ram seated beside him, though much older, shows no signs of fatigue himself. Instead, he says that music especially devotional music is a great energizer. With his manjira in his hands, he is a perfect figure of dedication and submission to God. For him, it is a way of expressing gratitude for everything that God has blessed them with.

Shridhar, however, is uncertain about the future. As he tries to introduce his kids to folk music, he has to face a dilemma. His children, despite having the talent and interest to be folk musicians after him, are dissuaded by the lack of opportunities in the music industry where young people today prefer Western beats over the rhythms and tune of ancient couplets and verses. Shridhar with his group has himself been called for a recording for the first time. “Unlike those folk musicians who have thrived under royal patronage, we have to hustle more. But as long as there is hope for the survival of our art form, we will continue singing.”

aaj humare guru aangan aaya

Our Guru has come to our home today

aaj humare guru aangan aaya

Our Guru has come to our home today

ayasohe mann bhaya

The arrival of the Guru fills my heart with happiness

re vaalena baddava aaya

My Guru, my lord, I welcome you wholeheartedly

Shridhar and his group get to perform in about 10-15 events in their village in a month. Their charges per event vary according to the financial condition of their patrons and hosts and there are times when they readily perform for free. When asked why he says that God is the only giver, they have faith in him and their music that they will fare well in the long run and get recognition.

He wants to build a culture where people are able to identify themselves with their traditions. One should not be forced to take up a profession in folk music. They should show interest on their own and should be eager to understand and adopt the values that make them who they are. It is important for everyone to know their roots because If you do not know where you are coming from you will never appreciate where you are going.

THE MUSIC INGRAINED IN THE LIFE OF RAJASTHAN

The vibrancy of Rajasthan is never completely discovered until you immerse yourself in its centuries-old folk music. Of the different communities that are involved in the practice of taking the heritage of folk music forward, the Meghwals find a special mention for popularizing religious folk songs throughout the country. Every piece of their music resembles and respects the essence of the desert land. Our session with Chagna Ram confirmed this fact.

Chagna Ram is from Hadwa, a village 75 km from Barmer. People in the harsh scantily-populated desert areas of Western Rajasthan have very little leisure for merry-making. For Chagna Ram and his group members, music is a respite, a means of making life more pleasant. They are professional performers and being from Meghwal families, their skills are handed down from generation to generation. Chagna Ram cultivated a desire to learn music after listening to his father and elder brother sing at events and functions. His elder brother was well known in the music circuit in and outside Rajasthan. A matka player, he had performed in Holland apart from entertaining the royal patrons in important cities of Rajasthan. Inspired, Chagna Ram too began his journey in the field of music.

hari binjar høye kar betro

 baalak kini bayır

 vaari raama

 sanwariya binaa

 dayalu bina

 kaun bandhawe dheer

Today his group consisting of 6 members, some of whom are from different communities. They sing devotional as well as festive songs. Songs by the saint-poets like Kabir and Meerabai are part of the folk repertoire. They are sung all night during special occasions (all night soirees spent singing devotional songs) which are held as thanksgiving to a particular deity. The resonant singing of the Rajasthani folk is accompanied by music from simple instruments like the Matka, dholki, tandoora (a five-stringed instrument), khartaal, bhapang and morchang that usually give a beat or a drone to offset the poetry. Together they have performed in Jaipur, Kota and other areas near their village. Besides they have been able to cultivate new audiences in various other Indian states like Punjab, Chandigarh, Uttarakhand, Delhi, Dehradun, Maharashtra. Fairs and festivals bring an even greater riot of colour and music into their lives. They also perform at events organized by Rajasthan Tourism.

Although music comes naturally to these Meghwals of Western Rajasthan, it cannot be stressed enough that Indian Folk music is filled with complexity and to truly master a skill one requires many years of study and discipline. In order to understand the fundamental techniques and feel their resonance with oneself, the teacher to student (guru- shishya) relationship is of paramount importance. Becoming immersed in raga theory and practice, a student learns primarily through oral means by listening and learning the tradition passed down from his or her guru. Chagna Ram gives credit of his knowledge to his guru Taga Ram. Be it accompanying his guru to singing events or helping him build his ashram, all the stories and memories from those days are still fresh in his mind. He expressed astonishment and delight when told about Taga Ram’s journey with Anahad Foundation.

kashi nagar se vipar bulaye

likh likh bheje cheer

jug rachayo kabir

sansar achha kaam kiya jivedan deke

All the skills and style that he acquired from his guru now enables him to create beautifully balanced exhibitions of ragas. Raga, literally interpreted as “that which colours the mind,” is the fundamental structure within Indian Folk Music. The composition is the face of the raga, defining its essence by bringing together all of its movements, parts and subtleties. But when is a particular raag used? Chagna Ram explains that a specific raag kind is used according to the time of the day because the power of the raga composition lies in its ability to evoke emotion that captivates listeners. Hence, he adds, there are two sets of ragas, the morning and the evening, each divided by the effects they have on the human senses.

On the surface, the Rajasthani folk music circle seems peaceful enough, a perfect blend of melodies. Look closer and you will see the rifts. With little resources at hand, Chagna Ram with his group has to face the challenges of cultural marginalization and urbanization. He fears that due to lack of recognition, their art form will eventually die out. In such circumstances, he understands the role a digital platform plays in an artist’s life. It is an effective method, he believes, to reach a wider audience, a new audience who would otherwise be sitting in front of their tv sets and encourage them to take interest in folk music.

SOLACE OF FOLK MUSIC

Khojat guru re hamara

Khoj kare re jono gur kar mana re

Nahi to re murkh pasara

Re sadhu bhai

There was an era when rituals reigned supreme when folk music in Rajasthan was both a source of ecstasy and spirituality. Even today it is as awe-inspiring as ever, but with society changing dynamically and rushing towards modernity, people are left with little leisure time to engage in such entertainments. As a result, the threat of losing our musical heritage looms large.

Bhera Ram is a 58 years old singer from Barmer. Singer by occupation, he supplements his livelihood by farming. He is a storehouse of knowledge as music is concerned. Though he mostly sings bhajans, the repertoire of songs known to him is vast and exquisite. Heli bhajan, pyare, hondura are a few to list. Inspired by his father and grandfather, he has been singing since 30 years.

“There has never been an institute for folk music,” he adds. “It has always been something passed from father to son and sustained by people’s interest.” He explains that much less traditional music is being played these days and one of the reasons, he believes, is increased urbanisation. As a result, the younger generation is showing less interest in folk music. People are moving into towns, away from the villages, away from the goatherds and the way of life that sustained traditional music. Such a fall-off has a direct impact on families such as his, who make their living singing at events.

kahat kabir suno bhai sadhu re 

boliya kabir suno bhai sadhu re

Creativity is not confined to poetry or fiction. It is a quality that surfaces everywhere. Singers like him throng all hues of life. But to further the cause of Indian history and heritage, it is important to evoke similar feelings and affinity to folk music among the youth of the land. According to him, only someone who listens with his inner mind gains the knowledge and the ability to take the art forward.

Ak Achambo dekhiyo re santo kuve me lagi aag

Ak Achambo dekhiyo re santo kuve me lagi aag 

Sens pani to gale gaya

Sens pani to gale gaya 

Machhiyo re gota khaye 

Zara sa dekhana re

Navo me nadiyo doobi jaye

As the group begins to sing, everyone is captivated by their edifying spirituality. The accompanying musicians seated beside him spare no efforts to make the entire performance a delightful experience. The music emanated by the different instruments is followed by steady long, repetitive swarms that turn the entire evening into an experience like never before. Not only are the lyrics appropriate to the occasion, the time theory of the ragas is strictly maintained. This has a meditative quality and creates an ethereal ambience.

Bhera Ram’s aim is to take his music to a bigger platform. He says that music must manifest a new world on stage, taking material from this world and transforming it to re-tell the heavenly glorious saga of the emergence of the cosmos. Bhera Ram and his group were a true discovery. Sadly there are not many practitioners of this rich vibrant highly specific tradition amongst the inheritors of the tradition any more.

TRADITIONS INSPIRING MUSIC

Rajasthan’s folk music is a living heritage. It is an expression of the people of the land. Unfortunately, the rush towards modernity in India threatens to bury this music and all that it represents. But those who seek it out strive to rekindle it and its audience.

Thakra Ram belongs to the Bhil community in Rajasthan. The word Bhil means bow and the Bhils are known as mountain tribals with bows and arrows. The stories of their exceptional archery talent are recounted in native narratives, with focus on Bhil warrior legends. In the history of Rajasthan, Bhil people are depicted as important warriors and many Rajput rulers showed faith in them, including instances during battles with Marathas and Mughals.

Bhils in Rajasthan are known for their musical rendition of the only surviving ancient traditional folk art form, Phad painting that depicts the epic of Pabuji, the Rathore Rajput chief. Bhopas are bards and also priests who are traditional narrators of this art form. The epic tale unfolds over a whole night. They recite the ancient story of the life of a god named Pabuji in front of a huge hand-painted scroll. It’s like a mobile temple. In villages of Rajasthan, Pabuji was considered an ascetic and hence his blessings were sought for veterinary services provided by his disciples, the Bhopas. The Bhopa’s singing is accompanied by two male dancers who perform in a drag. The attitude toward cross-dressing is quite different from what one would imagine. They say that those who dress up to display their artistic talent perform with sincerity and wholeheartedness. “My artistry is important to keep me in touch with my culture.” They are not restricted by traditions. Instead, traditions inspire them.

Devi Haalerio

Goddess, we call you to come and bless us

Maarhi Halerio

Oh our great Goddess 

dhoop devi halerio

Incense sticks have been lit to welcome you

aai maarhi haalerio

oh our great goddess, come and bless us  

aai maaji haalerio

 oh our great goddess, come and bless us

Thakra Ram is 60 years old and has been singing since childhood. His dedication and reverence for his art are exemplary. Encouraged by Komal Kothari of Rajasthan, he enrolled into the Rupan Sanstha and thence began his career in folk music. As his skills and talent grew he got various opportunities to perform internationally in countries like Russia, Africa, Italy, Hong Kong. After gaining popularity through his international ventures, people and organizations throughout India started calling him to perform at events. However, after Komal Kothari’s death, there was a vacuum. There was nobody in Rajasthan who could work with similar sincerity to help musicians revive and take pride in folk music. This is the reason why Thakra Ram’s own children today seem reluctant to learn traditional music and to take it up as a serious profession. Nonetheless, he has taught about 20-25 people and all he asks from his students is that they perform with earnestness. Ironically, he argues that going to other countries to perform makes them value local music more. It has yet another effect: the attention they receive gives them a sense of identity.

As unique and amusing as their entire performance is, it is their musical instrument, ravanhatha, that intrigues us the most. It is an ancient bowed, stringed instrument, that is considered to be an ancestor of the violin. In Indian and Sri Lankan tradition, it is believed that the ravanhatha originated during the time of the legendary king Ravana, after whom the instrument is supposedly named. According to Thakra Ram, it was lord Lakshman who brought it to India after Lord Ram killed Ravana. The ravanhatha is symbolic of Ravanas’ death. The coconut shell represents Ravan’s head and the wooden neck an arrow.

The big question is, can a Bhopa like him earn his living through this? Sadly not. There is a need to connect folk music with a bigger audience and music aficionados. Efforts have to be made to bring forward folk musicians and  singers and help them make a living from music, so that they don’t have to join the drift of the town.

Garbh kıya gaure jaaye 

The Bull is full with pride and arrogance for it’s strength

gale deengraaa paayaaa

But even the strong Bull has been tamed and captured to pull the cart 

dhan mayaa dhan dhartiii

the earth is richest in strength and it cannot let anyone live in its own illusion 

galiyaaa dhan maya dhan dhartiiii

The bull’s arrogance has melted away

When we asked him about what keeps him motivated, Thakra Ram replies that preserving folk music is synonymous with preserving the art of story-telling. The culture of Rajasthan has been recorded through songs and it must live on forever. He is disappointed by the fact that most people do not confer much value to it.

“What God has given you, it is important to pass that on to your children. Someone once said that one who listens with his inner mind gains knowledge which leads to release from the cycle of birth and death.”

Old traditions are like an echo of India. Folk culture is like a tree that needs nourishment at its roots. We must all ensure that the roots of the tree go deeper and deeper and the tree will be able to grow on its own.

Colourful Shades of Music

It is yet another blistering hot day in the town of Barmer, not far from the border with Pakistan. Mota Ram and his group members can be seen adjusting and tuning their instruments as they get ready to enthral their listeners with their music that has a unique flair of Rajasthan. Almost all of India’s cultural inheritance, since the Vedic era, believes that folk music transforms not only the artists but also its audience.

Folk music has been close to nature; more so because the Indian subcontinent always enjoyed abundant riches showered by Mother Nature and held her in awe. As a result, Prayers were composed. Over time they became an integral part of all rituals.

Mota Ram was born in a small village of Barmer named Bishala. Like most folk musicians of Rajasthan, he had an early start in the field of folk music. However, his journey was not an easy one. As a child he faced difficulties in adapting to various instruments. He recalls how even synchronizing a simple instrument like manjira with the rhythm would get awkward for him. Interest in music and his curiosity kept him steadfast, and with practice he got better to the point where he now has mastery over playing multiple instruments. Elders in his family triggered his interest in music. Encouraged by them he would go and attend small events in his community and at times also participate. It has been over sixteen years since he developed his interest in music into a livelihood.

Belonging to the Meghwal community, he sings devotional folk songs or bhajans. To him, singing bhajans is a way to tread the path to righteousness. They impart joy and provide respite to the mind. But he firmly believes that to gain the most out of bhajans or devotional songs one must cultivate the right attitude. One must know and accept in his mind that all our power comes from God. Prayers born of positive thoughts create positive vibrations. The kind of vibrations that prayer radiates depends on the kind of thoughts of the person praying. In all, it can be argued that it is a practical way of maintaining harmony in society.

A common theme in his songs is that of Guru-Shishya Parampara. In India Guru-Shishya Parampara or the relationship between teacher and his student is more than just a mere way of transmitting knowledge. A life itself is shared, a whole range of values and perception and an unswerving vision is transmitted. The essence of this relationship is love. Moreover, hard work and dedication are important parameters in this relationship.

Mota Ram also talks about the relationship that the Meghwal community of singers shares with their patrons. Meghwals also known as Rikhiya are the most beloved devotees of Lord Ramdev. According to the legend, it is believed that because they are dear to Lord Ramdev, he has blessed them with perpetual prosperity and abundance. This is the reason why people invite them to their events to commence all important occasions. If the disciple is happy, God will be elated.

He readily admits that despite the abundance of talented singers and an elite patronage, the situation of Rajasthani folk music is direr. They believe authentic music can survive if a large-enough audience is made aware of it. “The music is good. There are enough people to sustain it, but we need to make those people aware of it.”