Documentations

“A legend’s journey of sincerity and self-belief.”

“Music is a journey that can take you places and shape your reality.”

The journey of exploring different styles of folk music lead us to Awadh, a region historically ruled by various dynasties such as Delhi Sultanate, Sharqi Sultanate, Mughal Empire, and the British Raj. The capital city, Lucknow, has been known to have one of the richest cultures in the state, be it in terms of art, food, music, or chronicles. Stepping into the capital city itself will bring you closer to the history and development of the state of Uttar Pradesh.

As we proceeded towards exploring various folk musicians and groups of Awadh, we went to Bhatkhande University, one of the first music schools in India, to learn about the art forms that are a part of the culture of Uttar Pradesh. We came across Awadhi folk, Sohar, Thumri, and many other forms of music. The most mesmerizing experience was the passion of the artists from all walks of life. They are learning, teaching, and some have mastered multiple instruments along with vocals. 

Prof. Kamla Srivastava was one of those artists who have been learning music since childhood. She has learned all aspects of music in and out, and her vocal ability is truly breathtaking. When you meet her, you can feel the aura of an assertive and humble artist, who knows her music through diligent studying and tremendous experience. Even at the mature age of 88, she seems to be one of the most active musicians in the region, with the chirpy attitude of a young woman at the cusp of adulthood. She has also showcased her talents in multiple states of the country and broadcasted her musical abilities on Sri Lankan Radio. 

Her eyes light up like the Pole star as she speaks about her most memorable performance in the state of Goa as she recalls an overwhelmingly positive response from the audience who enjoyed and danced around while she performed to the best of her abilities. While we walked to the Genesis Club, one of the oldest places in Lucknow, Kamla Ji’s charm and ability captured everyone’s attention.  With her wit, she brought tremendous energy into every team member. She began performing and introducing various artforms and songs with lyrical translations and, at that moment, we realized how creative she was not only as a musician but also as a conversationalist and a presenter.

We got introduced to various forms of music such as Banarasi Kajri, Sohar, and Awadhi folk addressing the goddesses that are worshipped in the region. The beauty of these songs was like a conversation with God, nature, and the ones we love. Between each song, we would notice her humbleness as she would prepare us for the next song. She did so by telling the story behind her process while learning these different art forms.  In her elegance, we lost ourselves and her vocal abilities, at times, gave us goosebumps that we had never imagined. We also got the privilege to experience the brilliant harmonics of the Maheshwar Dayal Nagar Ji, who plays the harmonium with eminent finesse even at the age of 75. His 21 years of experience as a music teacher at Bhatkhande University, is finely reflected in his musical performances.

The highly coveted Dholak player, Satyam Shivam Sundar Ji, is an asset to this group as his ability to incorporate the beat with the harmonics and vocals by Prof. Kamla is masterful and a treat to experience. He claims to have composed over 1000 songs, some of which are on YouTube and other digital platforms. He is also a specialist in folk music melodies. Another brilliant percussionist who plays the Manjira, Rita Srivastava Ji, accompanied these artists, as they executed their musical fortress in the most elegant manner. Their ability to help the audience lose itself into their music and eventually their charming personalities stemmed from limitless experience, talent, and coordination.  

While practising Banarsi Kajri, Prof. Kamla stopped, as her voice gave out for a few seconds. She then, humbly apologized and within a few moments, cracked a few jokes and set the mood for another attempt at recording. They did this only to make everyone laugh with her honest acceptance of even the tiniest deviances from the tune. The essence of the music in Awadh lies within the connection to the identity of an individual’s incorporation of values such as diligence, discipline, and most importantly humility. Additionally, the music here translates the emotions into an unforgettable musical experience, with an exploration of one’s creative energy and spiritual identity through the magic of sounds played and sung in harmony.

As the quest for the songs of Uttar Pradesh started, one could feel the rush of happiness that felt like a homecoming, as if every lane and every tree welcomed us with arms wide open. Before this, most of our documentation was in Rajasthan, Uttarakhand, Himachal, Punjab, Jharkhand, and Karnataka. This was the first time we got a chance to document the diverse folk forms of Uttar Pradesh. And the whole vibe of Uttar Pradesh was very welcoming and homely.

The documentation started in Braj, the mystical land of Radha Krishna, and the notes (swars) of Rasiya, talking about the divine love of Radha-Krishna, engulfed us in a deep sense of warmth as we met a few artists and learned about the folk forms and different songs during the research trip.

Thanks to All India Radio, we could reach out to artists from Mathura, Vrindavan, and Agra. We got a chance to explore the famous Braj Rasiya, Swang, Mayur nritya, Charkhula, to Qawwali. To document one such artist, we reached the calm and beautiful village named Raya, about 16 km away from Mathura town. As we were getting closer to our destination, we could faintly hear the melodic voice of Pt. Damodar Sharma, through mists and lush mustard fields, was waiting for us with his group under a tree next to the temple of the village deity Parashuram.

Damodar has a very charismatic persona which reflects in his performance. He started his artistic journey at a very young age when he used to play the role of Ram in Rasleela and nautanki. After the demise of his father, his mother handed him Ramcharit Manas, which has been a source of learning in his life. He has very high regard for his mother and considers her to be his biggest inspiration.

Damodar had his first taste of folk music under the mentorship of Omkar Nath, who also happens to be from his village, Raya. He has been playing the harmonium with him since the 90s. After having his training in folk music, he realized that it’s very important to know classical music to make the songs sound more bright and dynamic. Kalyan Sen was his guru, from whom he learned classical gayan and from Prem Rawat – sugam sangeet.

“Music is the gift of Goddess Saraswati. If somebody devotes time with utmost sincerity, then music connects you with the Lord.”

Damodar, even at the age of 57, practices and does Riaz ritualistically every day. The reflection of his devotion and sincerity is seen in his team members, who performed along with him. They were very well-versed and sorted, and shooting them was a calm experience. The most interesting part of their documentation was this instrument called Esraj, a unique instrument that looks like Sarangi but sounds much sweet and melancholic, and with the notes of Gajendra Pathak, we just went on a roller coaster ride of emotions. Gajendra Pathak has been pursuing music as a profession from a very young age. He is a multifaceted artist. He has command over many instruments, including esraj, sitar, veena, Rudra veena, and Saraswati veena. Apart from being a well-known instrumentalist, he is also an AIR-approved Haveli Sangeet singer. This was the first time that we were recording an Esraj. It excited the entire team behind the documentation.

The first song they performed was a Rasiya named Deja daadh ko Daan in Daan Leela, a song of separation and appeal, where Udhav was asked to send the message to Krishna that she (Radha) is not playing Holi with anyone except him. Hence, wants him back at the earliest. The song is full of innocence, and when Mohan Shyam played his flute, we got into the trance of the divine love of Radha-Krishna that we could feel in the air of Raya.

Damodar left singing Rasiya 30-35 years back. Now he is more into swang and has been approved by AIR for it, but we were fortunate to hear two rasiyas from him. He also does Bhagawat Paths and feels very contained to get this opportunity to extend his humble service of preaching the stories and wisdom of the Lord to the greater mass. While we were explaining about ATMOS, the whole idea behind our work, and the listening experience that the world is going to have for the first time after listening to Indian folk music in Dolby Atmos, we realized the importance of documenting and preserving the varied and rich cultural goldmine of talents around us.

“Crossing paths with magic and euphoria.”

One of the most widespread and drastic changes brought in by modernization is the synthesis of modern western instruments into folk music and songs. The spread of commercial pop styles and Bollywood music brought new sounds and styles which dilutes the basic aesthetics of folk music, and beliefs associated with it. 

Its impact on the folk music of Uttar Pradesh is quite evident. To please the greater mass, artists have started singing folk songs in the tunes of popular Bollywood numbers.  Not affected by all these tempting glitz and blitzes of modernity, Mahaveer Singh Chahar is a pleasant exception.

After travelling for around 2 hours and covering 70kms from Mathura, we reached MBD Inter College, Doora, where Mahaveer Chahar Ji was getting ready with his group in their bright and colourful traditional attire.  Doora is an educational hub in the Agra district as there are two-degree colleges and three inter colleges. Most of the students from the nearby villages come here for higher education. The location chosen for Mahaveer Ji’s performance was an old Akhara, where villagers train in wrestling. For simple understanding, it was a traditional village gym. There was also a small temple of Lord Shiva which added a lot to the whole vibe of the place.

Seeing green is always a very relaxing experience. The entire Akhara was surrounded by lush green trees and vivid mustard fields. The stage was all set, and we were waiting for a rustic and raw performance by Mahaveer Singh Chahar and his group. As a group, they are very tight and playful. Except for Kapil Choudhury, 18 years old, all are middle-aged men, with Raghunath Bhagati and Jawahar Singh being in their 60s. But in no way they seemed any less energetic. They were one of the most lively groups in the entire Braj Documentation. 

Mahaveer Singh Chahar, 48, is a folk singer of great repute, in the entire Braj and Uttar Pradesh region, along with harmonium he plays dholak. All through his life, the only thing that he understood and believed in was music. In 1998, he appeared in Choupal Krishi Darshan on Doordarshan (DD), and ever since, he is also known as a DD artist in his locality. He is a role model for this group, and for his village, which admires him fondly. He is an ardent follower of music and keeps his group intact by managing and taking care of each member. The group sings various rare Braj folk forms like Jikri, etc., and all of their songs have a classical base.

Mahaveer is the group leader and has been managing the group for the past 15 years. The group has Kapil Choudhary, 18, who plays khartaal and gives backing support, Aso Khan, 50, who does the percussion duty and plays the Nakkara, Bhajan Lal Khuswaha, 42, who plays Dholak, Rajkumar, 52, who plays Jhinka and sings in the Chorus, Jawahar Singh, 62, who plays the harmonium and sings as well, Raghunath Bhagati, 69, plays Majira and sings in the Chorus along with Sabir Khan, 58, who also plays the Khanjari.

Raghunath Bhagati and Sabir Khan are the lifelines of this group. They get involved in their performance so much that you can feel the intense feelings of well-being and happiness they emit in their euphoric storytelling and performance. The group has been performing for the past 20 years, for different Government programs, the group was registered by the Information and Public Relation Department in 2000. They have performed in Uttar Pradesh, Rajasthan, Haryana, Delhi, and Madhya Pradesh. They see their future which would be only viable if the government supports them, they have very high hopes for them.

He also knows how to play the harmonium very profoundly, apart from the owner of a raspy vocal chord, and has performed in various locations within the state/country. He has received many awards and laurels from the State and Central government and pulled off brilliant performances at festivals and conventions in UP, Rajasthan, Haryana, Delhi, Madhya Pradesh. The Taj Mahotsav and the Uttar Pradesh divas are the most memorable experiences. 

He is a euphoric performer, and his group is equally vibrant. Their performance can move anybody into their grooves. Despite all their struggles, they strive to keep developing their craft and aspire someday in the future to see themselves succeed through the art that they love so much. Despite all their struggles, they strive to keep developing their craft and dreams to educate their audience about this artform. Someday in the future, they see themselves succeed through the art that they love so much.

“Melodies of humility and enthusiasm.”

Uttar Pradesh is blessed to have the two major rivers Ganga and Yamuna, passing through the state, making it highly fertile and super viable for agriculture with intensive cultivation. To meet Tejpal, we reached a small village named Baad near Agra. The location for filming Tejpal Singh and his group was literally between a lush green agricultural field. As we reached the spot, we could see Tejpal and his group singing a Devi Geet in a small temple and couldn’t resist being a part of the Satsang. 

Tejpal hails from Baad village of Agra district and has been a dedicated folk artist of the region. He has a senior diploma degree in vocals from NCZCC (North Central Zone Cultural Centre), Allahabad. Under the guidance of Shri Rajendra Prasad Sonariwale, he gained the wisdom of Braj folks. Tejpal was one of those artists who came from an initiative named Chaukhat ki Gunj, which was started during the lockdown to support the subsistence of local folk artists. 

Meeting with him and the group was indeed an overwhelming and gratifying experience because, at the end of the day, all the hard work that the foundation puts in is solely to empower artists like Tejpal. They perform with all their heart but somehow, at times, fail to get attention. He is from a family of Jats and lives with his father, wife, and four children. He is an ever-smiling person, and his sweetness, as a human being, can be felt in the music. He belongs to the Agra Gharana.  

Tejpal has a very dedicated group who look up to him with utmost fondness. Motiram, 52, is a Tabla Player and is trained by the prestigious Agra Gharana. He has done Prabhakar in tabla and has a senior diploma in vocals. Even though he has a classical background in music, he still considers himself to be a folk musician first. 

His proficiency is in the folk music of Braj (Braj ke lokgeet). He was also very instrumental in nurturing the younger members of the group. 

Gopal Singh, 22, a Dholak Player, is also a disciple of Motiram. He is still at a very nascent stage of his musical journey, but under the supervision of Tejpal and Motiram, he is improving his skills in no time.  Omprakash, 49, who is a sweet maker by profession, plays the Jhinka for the group. Srinath, 48, gracefully plays the Matka with spoons, a very simple yet sweet instrument. Apart from matka, he also plays dholak at times. Kedar Sharma, 45, a carpenter by profession but a musician by heart. He admires Tejpal a lot and considers him to be his biggest influence and guru.

It is very overwhelming to see respect and admiration among the group members. Any group can move ahead when there is compassion between the members for their music, and, it is quite evident in this one. They leave the audience mesmerised with their performance on the songs like ‘ Banaye deyo naath’ – 

“Tumne sabki dayi hai banaye,

(Hey! Lord, you have made everyone’s life)

Banaye deyo naath humari hai”

(Make our life too worthy) 

The group is proficient in folk forms like Rasiya, Languriya, and Krishna bhajans. As a group, they have been performing for the last 20 years. Before the Covid 19 pandemic, they were getting 7-8 shows per month, but the earnings made out of it have never been sufficient to meet their family needs. They are always worried as to how they are going to sustain the living for themselves and their families, and hence many of their members are into other professions for a living. Despite the problems coming their way, they have never left the path of the following music in their lives. They have ardent faith in music. To them, the future looks scary, but they are pretty optimistic.

They believe in singing and presenting their music with a sense of authenticity in lyrics and music using their traditional instruments and have made appearances in all the cities like Bharatpur, Mathura, and Agra. The group performs in local festivals and fairs. It was for the first time that the group was recording their songs. This feeling of seeing the artists performing with such enthusiasm motivates us their joy and happiness is our biggest inspiration.

“Ethereal celebration of lights in the forest of Govardhan.”

“Darkness cannot drive out darkness: only light can do that. Hate cannot drive out hate: only love can do that.” Martin Luther King Jr.

With the setting sun, the light from the Diyas reverberated through space as if to instil upon the blessings of Radha, on her birthplace. Radha is also referred to as the divine counterpart of Krishna. She is the embodiment of devotion, the essence of love for Krishna. To experience the spectacular dance from the Braj region of Uttar Pradesh, we met Pavan Goswami and his troupe. The group excels in Charkula nritya. By the time we set everything up for the performance, it’s all dark.  In this dance form, veiled women balancing large multi-tiered circular wooden pyramids on their heads lit with 108 oil lamps, dance to the strains of ‘Rasiya’ – songs of Lord Krishna. 

Charkula is primarily performed on the third day after Holi to celebrate the birth of Radharani. Some legends have it, on getting the news of Radha’s birth, her grandmother was happy, and that she emphatically rushed out of her house with the Charkula on her head, to announce to the entire village that Radha has come to see the light of the earth, Since then Charkula has been a popular and loved dance form of Braj, performed during various occasions of festivities.

Every cultural aspect of Braj has some of the other connections with Lord Krishna and the beautiful tales of Gopis and Radha, hence how was it possible for a dance form or a song, a story or a legend of Braj to remain unblemished from Krishna’s leelas. Trying to figure out how to work in the dark Govardhan forest and as the team was brainstorming, our eyes suddenly witnessed the other Avatar of Pavan Goswami in Krishna’s attire through the lights generated by the lamps on the Charkula. We had our Eureka moment, and without any further ado, we decided to light the location with candles and earthen lamps. To keep the monkeys away from our equipment, who became more active after sundown, we circled the area of our counsel with light.

Charkula dance is a symbol of happiness as well as joyful bliss. Krishna raised the mount Goverdhan and as if to re-enact the Govardhan Leela, the dancing damsel Braj raises the 50 Kgs Charkula on her head while performing the Charkula dance. Wearing long skirts reaching the toes and a blouse, the dancing damsel covers her body and face with the odhani, and with its lighted lamps on her head and in both the hands, she dances, synchronizing her steps with the beat of the drum. Her movements were limited, because of the heavy load on her head. The group gave a stunning performance and enchanted everyone on the song ‘ Sawayin dekho toh achak chadh aayo Rasiya’- 

“Bansi Bare Mohana,

(Oh! Winner of hearts! Flautist Krishna)

Bansi tanak baja,

(Please, play the flute)

Teri Bansi ne mero maan haro,

(Your flute has taken my heart away)

Mohe ghar aangana na sohaye”

(Now I no longer feel good in my place, my home)

She cannot bend her body, nor can she move her neck. Despite these limitations, the slim, sturdy, and courageous dancer dances, gliding, bending, pirouetting to the tune of the song. The climax is reached, when enraptured by the collective merriment of the occasion, the singers also start dancing, and, with the swift beat of music and movement, the onlookers find themselves carried away by the rejoicing. 

After experiencing a scintillating performance by Pawan, and the entire Charkhula group as we were coming out of the forest, we saw majestic Kusum Sarobor sparkling in full moonlight. A sight we will carry in our hearts for a long time. 

“In sync with spirituality and devotion.”

After spending some heart-wrenching time in Braj, trying to understand its folk music and to capture the pulse of this land, Hari Babu Kaushik was a divine treat with his Haveli Sangeet. Haveli sangeet is a form of music that traces its origin to the historical traditions of temple-based music. One of the most essential components of this music is Dhrupad. Haveli sangeet is more sophisticated in comparison to the bhajans we listen to. Haveli sangeet is a beautiful fusion of classical music and folk.

To meet Haribabu and his group, the team reached Vrindaban, a very sacred place for the Hindus. According to Indian mythology, Lord Krishna spent most of his childhood days in Vrindavan. To receive us, Mayur Kaushik, Haribabu’s son, was waiting at the Akshaya Patra temple. The Akshaya Patra Foundation is a committed non-profit organization responsible for feeding millions of underprivileged children in India. Their motto is to eradicate hunger and malnutrition from India. 

From there, Mayur Ji took us inside the temple for the flower arti(Phool-arti), a ritual in which people offer flowers to the deity. The entire documentation team was in a state of awe after watching the beauty of Radha-Krishna deities carved from white marbles. Along with Haribabu Kaushik Ji, the team joined the Satsang and sang the melodies of Krishna Bhajan with all the emphatic devotees over there. With a sense of contentment, we went to the spot where we planned to document Haribabu’s performance. Unfortunately, we couldn’t, because of the ongoing construction work, and it lead to some improvisation on our end. A special crowd-controlling team, was hence formed, to manage the flow of vehicles passing by. But eventually, the entire documentation came out very well.

Haveli sangeet primarily is a form of worship in which the offerings are presented to the divine.  Haribabu started with a solo sarangi performance as an offering to awake Lord Krishna from his sleep, followed by a song on Krishna’s Srinagar. All the songs that they performed depicted the very essence of Lord Krishna and his daily activities.  Haveli sangeet emphasizes more on the spiritual aspect rather than entertainment. Haveli sangeet is meant more for the seekers of the divine. During the research trip, we crossed paths with one such seeker, who is a follower of Lord Krishna’s consciousness. He was currently trying to find the path of his spiritual quest to the Lord through Haveli sangeet under the close guidance of Haribabu Kaushik. He was also present for the documentation, with a simple wish of getting a chance to listen to his Guru, singing the verses of Krishna.

Hari Babu Kaushik comes from Mushti Margiya Samprada, established by Prabhu Vallabh Acharya. It takes the form of devotional songs sung daily to Krishna by the Pushtimarg sect. Apart from being a majestic vocalist with a divine voice to support even at the age of 78, he is also a renowned and respected Sarangi player. He belongs to a musical family from generations they are into Haveli sangeet. The generation next is also taking up their traditional music with utmost care and empathy. 

Kriti Kaushik, 20, Haribabu’s granddaughter, is also a member of his group. She expresses her concern over the lack of popularity of the haveli sangeet and aspires to take the art form ahead with more dedication. According to her, more people can experience this divine musical tradition if they knew about it. It was very heartwarming to see such young minds being so committed to this dying art form.  On asking why Haveli Sangeet is on the verge of extinction, Hari Babu firmly pointed out a lack of understanding of the form among the general audience. Moreover, the decline of the Haveli Sangeet, in recent times, is due to the lack of trained mentors and schools that can pass on the Heritage of Haveli sangeet to the next generation.

The group has a beautiful blend of young and experienced musicians with highly experienced artists. To name, these are Manmohan Kaushik, the lead vocalist; Mayur Kaushik, a Harmonium Player, and singer; and Mukesh Kaushik, a benevolent Sarangi Player; Pt. Mohan Shyam Sharma, who accompanies tabla and Pakhawaj(a double-headed drum); and Kriti and Sourav. Sarangi and Pakhawaj are two very crucial instruments used in Haveli Sangeet. The intricate patterns and improvisations woven by Mohan Shyam Ji and Hari Babu created a dialogue that we were spellbound seeing and listening to such artistry..

To get the depth of Hari Babu’s voice, a very unique, micing pattern, was designed and the result that came out of it was simply amazing. It was one of the best documentation of the entire Braj journey, and the experience of recording and shooting such elegant artists was gratifying.

`

“Pitch perfect to the colours of Braj.”

From the lanes of Mathura and Vrindavan, the spirit of Holi has spread all over the world. Holi is a celebration of not just colours but also life and love. In Braj, Holi is celebrated to commemorate the divine love of Radha for Krishna, which can be found in the folktales and folk music of Braj.  Holi in Braj is famous in the entire world, and on this trip, we experienced the different colours of Braj and its diversity. But the trip wouldn’t be complete without listening to the region’s famous holi geet, which is also known as Faag at times, as it is also celebrated to welcome the arrival of the spring season.

To experience phaag, we ushered in to meet the very charismatic singer and performer of Mathura, Shri Jagdish Brijwasi, 54, a brilliant harmonium player and singer. He excels in playing the tabla as well. He started his musical journey as a ghazal singer but could not hide away his devotion to folk music and the divine, which got him into Braj Lok geet and bhajans. He has a strong Hindustani, classical base with a visharad degree credited to him by North Central Zone Cultural Centre (NCZCC), Allahabad, Uttar Pradesh.

He leads a folk group that has Ravi Joshi, 35, who sings as the chorus, a self-taught musician. He regards Jagdish very highly and considers him as one of his prime inspiration, who has guided him thoroughly in his musical journey, Amarjeet, 50, plays Dholak, Nakkara and is also a part of the chorus, Suresh Chand, 55, plays Manjira and Percussions, Parvez Ali, 25, plays harmonium and Brijwasi Nagar, 23, plays Tabla and Dholak.

Jagdish Brijwasi made this group around 4-5 years ago, and since then, he is managing and taking care of the members. The groups have performed everywhere in India and Africa, Nepal, etc.  The group is fluent in various folk forms from the region of Braj, but expertise in Holi geet and Mayur Nritya. From Folk songs to light music, the group gives mesmerizing performances every time they are on the stage. They love to sing in Darbari and Shivranjini raga. The group has strong classical knowledge, which can be seen in their performance. For the group, music is like God, whom they worship every day of their lives. The group aspires to go around the world and share more about the rich cultural heritage of the Braj region.

“Jo saiyan aaye Braj me ulat ke,

Hori me khelungi Shyamso daatke.”

“Faagun beeto jai taanak gori,

Rasiya te batarai lijo.”

Jagdish expresses, “Music is my god, my worship. And I owe everything to music”. On asking what prompted him to get into music, he said he once heard someone performing, “ Maa ke parivaar aur saraswati ke darshan” and “Tu mehelo ki Rani from Dharamveer, and that just changed his life.  He considers Mallu Bhai, Ameer Sahab, Ghulam Sabir Sahab, Rajendra Krishna, Dr Hari Charan Verma as his gurus, and speaks very highly of their teaching as well as calibre in the field of music. Most of his songs are written in a similar style. He has also sung in films like Sajan Tere Pyaar Mein, Sun Meri Soniye with singers like Vandana Vajpaiy.

“Phagun beto jai sakhiri,

(The season of Phaag will get over, friend)

Phagun Beto jai tanak gori “

(The season of Phaag will get over, lady)

From Folk songs to light music, the group give such mesmerising performance every time they are on the stage. They love to sing in Darbari and Shivranjini raga. The group has strong classical knowledge and one can see the same in their performance. For the group music like God whom they worship every day of their lives. The group aspires to go around the world and share more and more about the rich cultural heritage of the Braj region.

“Notes of surrender and reverance.”

About 23 km from Mathura is Govardhan, a place with many legends associated with it. The most known legend, where Krishna is lifting the Govardhan hill, to protect the villagers defeating the ego of demigod, Indra, who threatened to bring in a flood if he is not worshipped. It is a very sacred pilgrimage site. Many people come here to do the Parikrama, as a mark of remembrance to Lord Krishna.

To set the location, we reached Kusum Sarovar in Govardhan. Surrounded by lush green forests, dotted with vibrant flowers, Kusum Sarovar is a serene spot. According to popular belief, Lord Krishna and his Gopis met at this pond. It’s said that Goddess Radha would come here under the pretext of collecting flowers for her friends but would secretly meet with Lord Krishna and have playful conversations.

It has been quite a journey, as we were moving ahead with this documentation. It felt more grounded as we were swaying to the breeze that carries the melodies of Radha-Krishna in Braj. The artist whom we are meeting here was multi-talented and generous, Jwala Prasad, a humble soul to the core. He is originally from Doora in Agra, but he chose to be at Govardhan for the documentation.

Jwala Prasad is a very veteran artist of this region. Apart from being an amazingly talented singer, he is an equally good flute player and a percussionist. He is also responsible for nurturing many renowned musicians from this region. Jwala Ji is very respected and admired for his sincerity and commitment towards folk music, and we could feel it during his performance. Jwala Ji is a highly acclaimed AIR artist, who believes that music is closely associated with our culture. He says, “Music is keeping us rooted to our traditions and cultures, and folk music is the pulse of it.” Jwala Prasad draws all his inspiration from his mother, Chandu Devi, also an AIR artist. She not just motivated Jwala Prasad but was also instrumental in getting Satoshi Devi, Jwala Prasad’s wife, and daughters to take up music seriously, who eventually became the core members of Jwala Prasad’s musical group.

His group included his wife Santosi Devi, 50, an A grade artist from AIR, Agra, she gives all the credits to her husband, who also happens to be her guru, for all her achievements. Her voice added so much pathos and vulnerability to their performance that one could feel the melancholy in the air. She supports Jwala Ji perfectly in the chorus. Another member of this group is Rita Saikya, who is also the daughter of Jwala Prasad Ji, her vocal harmonies in the chorus compliment her parent’s singing meticulously. 

Their extensive repertoire of traditional Braj tunes is punctuated by songs, many of their compositions beautifully carrying the essence of the land. Jwala Ji’s group was unique, as they mostly performed their own composed songs. Another crucial member of the group is Suresh Chand, a very charming person in his late 50’s, who carried a sweet in the entire performance. He backs up the vocals and harmonium. He and Jwala have been friends for a long time now. They started their musical journey together and have helped one another in their musical endeavours with utmost care and compassion.

Their music is a beautiful blend of traditional folk and classical music, melancholic melodies and intuitive interplay merge to unique effect, creating a soundscape that absorbs you into it immediately. The location decided for the performance of Jwala Prasad, was in a forest just next to Kusum Sarovar. We reached the place and were welcomed by a troop of monkeys. Initially, we were a little sceptical of doing the documentation there, as we did not know how to avoid the sound of the monkeys, and we also had to take care of our equipment. But to our surprise, the moment Jwala Prasad and his group started singing, the troop of monkeys went into a trance. That was indeed a special moment, of how music can connect with nature and its creatures.

Jwala Prasad and his group performed a wide range of songs, they started with a  Devi bhajan, praising the strength of the goddess and asking for her blessings, followed by their own composition. The third song was a hindola geet, a song that was sung for Krishna, while gopis rocked him on decorated swings. The last song was again a self-composed melody, where they shared the story of Lord Ram’s marriage with Sita. Their music showcases their instrumental music, in a very dynamic way. They had to be careful while writing their songs that it does not dilute the aesthetics of the folk music, Braj.

“A performance led by faith.”

Just like when you talk about Braj, one immediately associate it with the divine love of Radha-Krishna, the land of Braj is also known for its belief in cows. Here, cows are equally respected and worshipped. After documenting artists from the core of Mathura and Agra, understating and listening to forms like Rasiya, Djikri Bhajan, phaag, and hori, we arrived at a remote village through an off-road driving experience in the district of Hathras. To our utmost surprise, the location where we had to document Prem Kumar Sharma was a Cowshed (Goushala). Initially, we thought it would be difficult to record there as we had no clue how to avoid the sound of the cows during their performance. But we were astonished by the cooperation we got from the villagers and their cows. 

Prem Ji is a very down-to-earth person, and his humility was shining through his presence and conversations. We first met during the research trip, and since then, his groundedness has won our hearts. Prem Ji has inherited musical skills and knowledge from his father Shri Asarfi Lal Sharma, who inspired him to take up music as a profession. For formal training, he reached out to Lala Chandomal Ji, to be his Guru.

During the documentation, they performed some unique and rare folk forms of Braj like Bahar, Hathrasi Tadda Rasiya, and Kalanga. It was only after meeting him that we got enlightened about the fact that Braj ki rasiya is different from Hathrasi rasiya. Though it is assumed that rasiya has its origin in Braj, but with time there have been some variations with respect to different regions. How Hathrasi rasiya evolved is still not very well known. It is believed to be a subgenre of Rasiya. Some believe that it emerged during the 20th century. It is an akhara (club) based style, where the performers are involved in Musical poetic duels known as the jawabi kirtan. The first song that they performed was a “Bahar” song that began with a lyrical verse :

“Mere baal sakha dukh paaye hain bhaare,

(Oh my childhood friend you have had your share of problems)

Baal sakha dukh paaye bhaare itt cho naay padhaare”

(Dear friend, why didn’t you come to me earlier when you had so many problems)

As Prem Ji started singing, we could feel the grief and a deep sense of melancholy instantly, such as the impact of his performance that it just wrenched the hearts of everyone who were present there, and many were in tears after that. It took us some time to get over it before heading to his next performance.  Prem Sharma and his group have been performing together for a while now. Though none of the members in the group, including Prem Ji, have proper formal musical training but the love for music that they possess in their hearts has bound them together for years now. The group is a good fit of young and old, from Prem Kumar Sharma, 63, who is the eldest, to Navneet Kumar Bharadwaj, 28, which beautifully reflects Prem ji’s intent to carry forward the tradition of passing on their musical talents down to the future generations.

As a group leader, Prem Ji is also responsible for sticking the group together and keeping them motivated towards music as half of the members are into other professions to sustain their livelihood. The group comprises seven members in total. They have Pawan Kumar Rajput, 35, a harmonium expert, equally holds command over Kanjari, a dedicated and devoted musician who never let his vision issue come as a hindrance in his life and musical growth. Navneet Kumar Bhardwaj, 28, plays Dholak, is a self-taught musician. He credits everything to divine grace. He wishes to devote more time to music and aspires to be a well-known musician in the country. Harpal Singh, 52, sings with Prem Sharma giving him company as chorus, whereas Bipin Kumar Sharma, 37, and Om Prakash Nayak, 62, both play important roles in the chorus singing of the group. Salim Baba, 60, a true gentleman, plays an instrument called “Tasha”. 

“Music is life, and it does not just calm your ears and minds, but also your soul. It’s so powerful that it relieves you at the time of despair.” After their performance for the documentation, we had a very personal conversation with him over a cup of tea and pakoras made with an extra touch of love and compassion by Prem Ji’s wife. As we moved on with the conversation, Prem Ji got a little emotional when we asked him about the melancholic voice of his, and with teary eyes, he shared some of his tragedies that ended his musical life as he stopped singing for many years.  

“Unveiling the love story of Radha and Krishna.”

Braj as a region has many mythological and religious connotations attached to it. In Hindu beliefs, it is one of the most important places of pilgrimage. Mathura is believed to be the birthplace of Lord Krishna. In Brajbhoomi, the love of Radha-Krishna blossomed, the stories of their eternal love are very prominent in all the art forms of Braj. To witness such a dance form, the team contacted Monica Tomar, the lead dancer of the Mayur Nritya Dance Group. Mayur Nritya draws its inspiration from the ethereal episodes of love between Radha and Krishna. This dance form has its origin in the Braj region of Uttar Pradesh. 

The story narrates that Radha was grieving for the love of her beloved Lord Krishna in separation. Seeing Radha in such pain, Lord Krishna decides to console her by the sight of peacocks, whose feathers Krishna wears on his crown. Mayur Nritya is a very vibrant and colourful dance form and engrosses one immediately in its charm. The dance form has a beautiful blend of Birth Ras and Shringar Ras. The dance form involves magnificent dramatic characteristics and facial expressions apart from its graceful dancing moves. Witnessing Mayur Nritya for the first time, the audience can sense how the beautiful love stories of Radha & Lord Krishna are strongly engraved in the hearts of the people and the artists here in Braj. And the strong devotion that every artist shares for their art form is so evident in their performances.

Monica Tomar is a classically trained dancer and is currently in her 6th year of Kathak. Apart from doing stage shows, she also teaches dance in Dr RM Shah Global Public School. Though she does all forms of folk dances of Braj, Mayur Nritya and Charkula nritya hold a special place in her heart. Her dance group specializes in Mayur Nritya & Charkula nritya and involves very dedicated and devoted artists. These artists are trying their best to pursue their passion as a full-time profession. The dancers in the group exhibit a performance quality, valued for their artistry. Shika, who played the character of Radha Rani skillfully, communicated and interpreted the ideas of her despair from being away from her beloved in her given movement vocabulary she captivated everyone. 

Their group is highly appreciated by their audience because of their visuals. It can end disbelief by communicating ideas through emotions. Their dance is beautifully accompanied by a group of musicians, led by Sachin Brijwasi, who is a folk and bhajan singer of great repute. They sang rasiyas like “tohe mor baanake naachaungi man mohan baansi dhaare.” Their melodies beautifully encompassed the story of the love between Lord Krishna and Radha. How Lord Krishna, with his eagerness to please his beloved, transforms into a peacock and dances. 

The music group also has equally experienced Shyam Goswami, 38, a manjira player and chorus singer, and Sourav Kaushik, who plays with all his heart. For tabla, the group has the very young and vividly talented Vikash Nagar, who is just 16 years old. Interestingly, he came along with his father once to watch the groups’ performance but ended up putting on a splendid performance by himself. India is so blessed to have such skilled artist and is indeed a matter of great pride that we belong to a country with amazing and unique cultures and forms to exhibit. 

Apart from performing the traditional way, she is also given credits for choreographing Braj Vandana, Makhan Leena, Charkhula. At the age of 38, she has already established herself to be a prolific dancer with no doubts, but she’s blessed with a philanthropic heart. She has been very instrumental in teaching dance to young dancers from the marginalized sections of the society, and once they get to imbibe the art well, she makes them a part of the group and carries them along for her performance. “Dance is my lifeline, and whatever I have achieved, it became possible only because of dance. I want to dedicate my life to dance and wish to keep performing till my last breath.”

Saying this she and her group gave a dazzling performance on:

“Ek din shri kunwar raadhika mor kuti aai,

(One day, Krishna and Radha came to the peacock garden)

Mor wahan ekhu naay paaye

(But they didn’t find any peacock there)

Jaan priyaa man utkuntha prabhu”

(Radha got worried as Krishna was upset)