Uttar Pradesh

“A journey to the inner sounds of spirituality.”

A musical journey can be regarded as an exploration of one’s inner sounds of spirituality. It carries the potential to bring to the surface the value systems that constitute the elements of the integrity of the individual. To activate such value systems, we left our homes to understand the landscape and the music that lies in the eastern region of Uttar Pradesh which is called Purvanchal.

In South-eastern Uttar Pradesh, on the banks of the river Ganga, lies one of the seven sacred cities of India. This city is called Banaras and is one of the most well-known places in this region. Within the city, and the villages around, reside a population that has been creating and enjoying various forms of folk music like Banarasi Kajri and Biraha. As we sought the artists who have mastered these forms of art over the years, we came across a much-coveted and highly educated artist and a researcher in music, Mannu Yadav. He has made his name within the communities and audiences that enjoy the mentioned forms of music and has completed two Doctoral degrees simultaneously.

To meet such a brilliant mind in the field of music, along with his students, who have also been making a mark as they complement his abilities while accompanying him during various national and international level events was an honour and a privilege. Along with his ensemble, he has presented Biraha in places like Mauritius, Bhutan, and even the Red Fort in New Delhi. As we met him, his professional attitude towards his art and his peers was a pleasing sight at first, but we had never seen him in action before. Unlike other art styles, he insisted that he should perform while standing up and most definitely showcase his skills in the manner that he does in every performance. This posed a bit of a challenge for us to record him, but it was done in the best possible manner.

Accompanying him was his team that consisted of four talented musicians, who have spent their lives in pursuit of mastering musical abilities with their respective instruments. Bijendra, an expert in playing the harmonium, was one of the most talented and excellent musicians we had seen in a while.  Along with him, a young artist named Lal Bahadur, or as they affectionately called him, Molu, was a young Dholak player only in his early twenties and yet, showing terrific ability in providing the beats for the songs that these artists presented to us. Chhangoor, a percussionist who uses Khartaal to perfection and has been by his side for most of his performances, around the country as well as the globe, got inspired by his father who was also a folk musician and displayed tremendous musical finesse. Siding with Budhai, an even more experienced percussionist, who claimed to possess abilities in various traditional musical instruments such as the Manjira, Dholak, and Bansuri (flute) was another crucial piece of the story that these artists were a part of during this exploration.

One can say with surety that the Mannu Yadav and his group are masters of the folk form Beher which goes like this:

“Chandrachoond bhakt hain ki,

(Chandrachoond is a follower)

Shivji ke rahilein,

(Of Lord Shiva)

Kayilein jab tap bariyar ho,

(He made himself go through penance)

Tap bal dekhi hil gayile asanwa”

(Shiva was moved by all the hardships Chandrachoond took upon himself)

On the bank of the river Ganga, we were amazed and rendered speechless by their music and storytelling abilities, only having to clap as hard as we could as they finished performing the Banarasi Karji that we had been aspiring to watch for so long. This marked our journey to Banaras, in search of musical brilliance, an undeniably successful one indeed.

“Grasping a long lost art form.”

A place of folktales and strong religious beliefs, Ayodhya is subjected to various opinions and historic discussions. In Indian mythology, it is the place of birth of Lord Rama and is considered the holy land around which the epic of Ramayana is set and revolves. Music and folklore have gone hand in hand since humans have started living in communities. Tales about gods and goddesses have been told to almost every child in India during their years of development. 

These tales have taken various forms inspired by storytelling through religious texts to music. One such form of music and dance emerged in ancient times in the province of Awadh. This dance form was called Keherwa. Most musicians in the country know Keherwa taal as a simple 8-beat pattern equally divided into two divisions. Nearly nobody knows about the long-lost art form that is built around it and goes by the same name.

Our journey brought us to the location of the origin of this art form. In Ayodhya, we met Mukesh Kumar, who works to revive this art form and leads a troupe of Keherwa musicians and dancers. These are individuals who have a passion for music, dance, and performing their craft. They come from humble backgrounds and with passion for performance in their eyes, glaring as they made their way to the sight of the recording.

Right by the large fields of mustard was the place chosen for their performance. Mukesh himself seemed to be very excited as he had done very few semi-professionally recorded videos for old folk songs before. As an artist, he began learning at a later stage in his life, and during his mid-twenties, he felt that this was a great opportunity, and despite his natural talent in folk music and singing, he seemed to be quite polite and humble.

Along with him was a talented vocalist, Bharat, who had been singing since childhood and had a deep, and yet beautiful voice while he recited the songs and impressed everyone present in and around the place.  Another highly talented singer, Tanya Mishra, also has a vibrant smile and a generally playful attitude in life. Along with these instrumentalists who held up to 40 years of experience, their team comprises a wholesome group of people with highly diverse experiences. Within a few minutes, the people from the surrounding villages came to the site as they were even more excited to witness this event. They even helped us out there with the provision of water in a large container. 

They began to sing, and the people around, especially the kids, who seemed to be making noises earlier, listened with high devotion. The dance was an energetic one with swift arm and leg movements done in coordination and harmony. Eventually, the dancers moved onto acrobatic formations showing the sort of strength and athleticism the Keherwa dancers of ancient times must have required to pull off this art form.

The song expressed the story of how Lord Rama was able to impress each and everyone at the ceremony of the selection of Goddess Sita’s groom. The kind of vigour he displayed as he picked up Lord Shiva’s bow and broke it with his brute strength. It was an auspicious occasion as Goddess Sita was getting married to a man of her selection.

“Hey Awadh ke lalna,

(Oh Lord of Awadh!)

Aaj Mithilapur mein aaye hain Awadh ke laalna”

(Awadh’s beloved has arrived at Mithilapuri, Oh Lord)

It shows how vital our religious texts have been in the development of music in our country. The folklores of India have shaped the way that art and culture are looked upon, and the music and dance of the folk represent jaw-dropping techniques used by the artists.  It is only a matter of exploration to find values within our spectrum of traditions that can teach us how to be and sometimes be or not be; to show strength and vigour in life and never think that anything is beyond our grasp or reach.

“Marking time with Pharwahi, an age-old tradition of Awadh.”

The beauty of the state of Awadh lied in the richness of its culture as the region itself has experienced diversity in the most literal sense. One could say that it is the definition of diversity in cultures, contending with each other during the past and eventually coming together during the modern age. Its music reflected a similar tenor once we started getting into the deeper art forms that very few people had heard of and even fewer understood well enough to pass on to the next generations. This search for long lost folk melodies leads us to Sheetla Prasad Verma, officially a senior government employee in the office of the District Magistrate of Ayodhya.

When we met his humble personality, he welcomed us with a warm smile on his face. As we started talking to him, he began to apprise us about various lost forms of folk art that are vanishing due to the influence of western culture within the region. He has spent the last two decades working towards the revival of these forms of art and seeks to create a generation of young people who wish to become self-dependent through these. Having studied sociology as a subject of his Master’s degree he seems to have the will and ability to put all of that knowledge to good use for the revival of folk music in the region and is completely devoted to this goal. Well known among the folk music communities within the region, he got us in touch with various highly skilled and experienced musicians who never had the chance to make it big but carry the weight in terms of talent to achieve the same.

From specialists in harmonics to expert percussionists and also folk dancers who brilliantly express each emotion on their faces while performing their art, we saw raw talent residing within the confines of unexplored regions of the most populated state of the country.  

Eventually, we were lead towards fields of Mustard with beautiful yellow flowers blooming under the sun on a pleasant afternoon in the month of February. There were young dancers and a few adolescent singers who are nurturing their talents and highly experienced musicians to balance out the spectrum of diversity yet again. Sounds of the music also began to attract a crowd from the surrounding villages and a few puppies who were covertly playing around the fields.

Spirituality seemed to be the soul of the music around here as it has been for years in the Hindu culture. Their performance began with a short prayer a ceremony that started with strong drumming of the Nakkada and then a strident chime of a conch shell to mark the beginning of the performance. Men were wearing colourful clothes and makeup along with bells on colourful bottoms that would go on to add to the percussions while the beats were given by musicians. Women were wearing even more brightly coloured sarees with light makeup only to enhance their natural beauty. The dancers merrily moved on to the subtle arm and leg movements in coordination with each other. 

The cultural breakdance had begun and a sudden transition to rapid coordinated formations was a treat to watch. They were telling a story about the wedding of Lord Rama and Goddess Sita that was taking place in the most peculiar way. Men carried large Bamboo sticks with rubber grips on the lower end and flutes in their hand while women carried clay pots, supporting them on their head with the help of their hands. The dancers slowly began to act out representations of Indian Gods beginning with Lord Rama with a bow and arrow in their hands and eventually imitating Lord Vishnu, Brahma, and Shiva as the guests in the wedding ceremony with the song, that goes like-

“Raja janak ji ke sundar bitiyawa se vyaahan chale Shri Ram ho,

(Lord Ram is on his path to marry Raja Janak’s beautiful daughter)

Vyaahan chale Shri Ram ho”

(Lord Ram is on his path to marry)

The intensity and passion while carrying out the act was a mesmerising sight and was so accurately done that one would understand what kind of feeling each of these gods would represent. The colours and flavours of such different art forms was a mesmerising and humbling sight and told us an unforgettable story about the hidden richness in culture within the region. It was not only the historic and spiritual representations that gave us this realization but primarily the unfolding of strength, talent as well as passion of these artists which truly moved our hearts.

“Capturing the scintillating and radiant voice.”

“It is not your pen you are looking for, it is your tongue and those who speak with it.”

At times in life, we seem to hold on to things that we have already lost. As we begin to search for them, we gradually realize that the more we look for them, the farther away they move from us. The quote by Ruth Forman is hence excerpted to express the importance of communicating. It does not matter if you want to write under no circumstances should your ability to speak be lost as it is the source of receiving what we want.

We wish to find artists who are bold enough to have an upbeat and optimistic presence. While recording, we explored the music of Awadh and pointed our speech in the right direction. We found the same in Malvika Hariom, the scintillating singer, and ‘Shaeirah’ from Lucknow. Her radiant eyes and beautiful smile will capture your attention as soon as you get the chance to be in her presence. Even more captivating is her charisma, as she boldly commands attention not just by the words that she writes but also by her skills in recitation.

No wonder she was one of the first artists to be shortlisted during the planning of this exploration. When we got to interact with her, even her choices were exclusive while shortlisting the songs she was going to perform, and we could feel that the experience was going to be a one-off. Along with her came a highly talented and peculiar set of instrumentalists who were all aces in their departments. The percussionist, Shailendra Singh, is an expert at drums and has a versatile talent. He plays multiple instruments like an Egg shaker, Khanjri, Whistle, Xylophone, and more. He played these during a single performance using techniques to provide a surround sound experience, and it was wondrous.

Another team member, Chandresh Pandey, is a proficient Harmonium player with a witty personality and a cheerful attitude. It also reflects in his music with the burst of positive emotion that he can generate is incredible.  In harmony with the flute specialist, Deependra Kunwar is an artist who displays extreme dexterity in his performances. Each performance is a reflection of his brilliance in his craft. 

As the performance began with a Devi geet of the Awadh, everyone slowly blended into the energy surrounding us. The song, “Tohri saran hum Aaye” was presented most beautifully and lifted the spirit of everyone present at Janeshwar Mishra Park, Lucknow and it goes like-

“Tohri sharan hum aaye ho ambe maiya,

(We have come into your refuge, Oh Goddess Ambika!)                  

Ambe maiya, jagdambe maiya,

(Goddess Ambika, the mother of all)

Tohri sharan hum aaye ho ambe maiya,

(We have come into your refuge, Oh Goddess Ambika!)                  

Laal mandirwa laal kewariya”

(Red temples, red doors)

The music itself was so peculiar with so many percussion instruments played by a single artist, that it set the mood for the second song. It was a sweet Mela geet, recited from the point of view of a woman, asking her lover to slow the car down as she is afraid of speed, and eventually, as the car slows, she receives a call from her family urging her to return immediately. The tables turn, and she asks him to drive faster as she is getting late, and reaching home is the need of the hour.

Much of their music, later on, was based on playful and flirtatious emotions that took the edge off and made a brilliant transition from spiritual to an act of amusement, relaxation, and entertainment. 

Masterful vocals, brilliant rhythm and harmonics, and a great location evolved together to create an experience that could potentially transform perspectives and move people from a state of apathy to affinity and bliss. 

“Life with Awadh folk as it is.”

The region of Awadh, in Uttar Pradesh province of India, is one of the most culturally influenced regions within the country. As various rulers and dynasties came and left along with the appointments of different governors, Awadhi culture has seen a transformation like no other in the country. Yet, the cultural arts have stayed somewhat preserved with its multiple residents, taking interest in keeping their traditions intact.

The folk music of Awadh got affected by these changes to a much greater extent. Meeting the artists of Awadh is always an honour since many of them have taken rigorous training in classical and folk music and show tremendous ability in their craft. This region has produced great artists and musicians, a lot of them highly coveted and renowned in their areas.

The brilliance of Awadhi folk comes into light as you meet and watch artists such as SP Chauhan and the troupe he leads. As a vocalist, SP Chauhan displays undeniable brilliance and passion in his songs. Behind this is a person, who is bold and honest, and talks about the art of the region, fervently.

“Western influence has brought the has had a huge amount of impact to the Awadhi folk music”, he says. Further in the conversation, he adds, “It is the vulgarity that I don’t appreciate. I can never support it and perform such songs. Authenticity is the most important thing, in my opinion.” Unlike most other artists, he began learning during his years in college. His passion for music even got him to drop out of college that he had joined to pursue a Bachelor’s degree in commerce. Taking inspiration from his father, like most other artists in his troupe, he started singing bhajans at Jagrans and hasn’t stopped learning and growing in the field of music ever since. With passion and enthusiasm, he began with his performance of ‘Sejiya se’ – 

“Seijiya se saiyan rus gayile ho rama,

(My beloved got upset in his sleep, oh Rama)

Koyal tohari boliya”

(Cuckoo, your voice)

His visit to Lucknow to look for a job lead him to his guru, Baleshwar Ji. He speaks very highly of Guru Ji in terms of music and teaching abilities. For him, it was a life-altering decision as hearing him sing once was enough to compel his guru to ask him to practice and master the art. We had to choose a location that would do justice to his authenticity and perseverance, complementing the original style and meaningful lyrics of the ancient art styles such as Kajri and Chaiti. 

Gomti Nagar was our choice of locality right by the river Gomti that branches out of Ganga. Under a large field of Mulberry trees in the beautifully built Janeshwar Mishra park, we sat with him and got to a lot about various art forms within the spectrum of Awadhi folk. Along with him came highly experienced musicians who have been learning and playing musical instruments even before reaching adolescence, most of them inspired by the traditions in their family. 

Sony Niyazi, the name their Harmonium expert goes by in Lucknow and pretty much everywhere, was the one providing them with harmony through his skills in playing the Harmonium. Originally a Banjo player, who has also mastered the Keyboard, This brilliant musician specializes in Qawali and Bhajan Sangeet.

A brilliant rhythm and percussions specialist, Rakesh Kumar had accompanied him with a young tabla artist, Dulare Hussain, and an excellent chorus and backing vocalist Akhilesh Vishwakarma. They came together as a group, and they know each other inside and out. It was evident in their masterly coordination and rhythmic understanding of how to perform and improvise accompanying each other. The sound of their music hitting our eardrums was just awe-inspiring, and as we heard their beats, we began to flow with the music.  The vocal ability of SP Chauhan coming in chorus in a symphonic togetherness with the band truly gave us the experience of a lifetime.

“Reigniting fire in life through music.”

Awadh is one of the most diversity-driven regions of Uttar Pradesh in terms of its history as it has been ruled under various dynasties. Most importantly, The Hindu mythological story of Lord Rama, who was born in the region of Awadh is told here as ages-old folklore that holds a very high spiritual significance for everyone who resides here. Awadhi folk music captures the story of Lord Rama through a song called Chaiti – Ram Janam. Most of the music that has originated from here is spiritual in nature.

Using different Taals and Ragas to express various occasions, from the wedding ceremonies of Gods and Goddesses to childbirth being compared to the birth of Lord Rama in every household has been the essence of music in this region. While exploring these folk art forms, we came across a group of expert musicians who show nearly unmatchable talent in expressing their emotions and reciting the folklores solemnly.

They call themselves the Kamayani group. The name is ingeniously derived from the names of the duo of sisters who lead the vocals adeptly along with instrumentalists that are highly qualified in their respective fields. It was an honour and a privilege to meet both the sisters who are making a real impact on the world of music, using their talent to promote their local culture across the country. Conversations with them were vivid and informative as we learned about the folk forms of Awadh as well as Purvanchal. Their humility despite the possession of incredible talent was quite reassuring. The duo is so well versed with the intricity of the traditional Awadh folk song that they sang the ‘Chait mass mein’ only to explain about the song, which goes like this – 

“Awadh maa Ram ji janam liyo Rama, chaita hi maase,

(It is the month of Chaita, Lord Rama took birth in Awadh)

Sab nar naari mil mangal gaawe,

(All men and women are singing happily)

Ghar ghar baajat badhaiya”

(Congratulatory songs are being sung in each house)

They also spoke highly of their fellow artists, Ankit Singh ji, who is a highly qualified musician and currently a researcher in the cultural arts focusing on the classical dance form of Kathak. His passion for music was commendable as he came with a broken foot covered in a thick plaster covering it and yet adjusted himself according to what the situation demanded just for his passion for music. The brilliant percussionist, Harshit Sharma, was one of the most exciting and witty individuals we would meet on this journey. His eyes sparkled as the singers took a snap decision on enhancing the recording experience with a song that involved a rare beat pattern known as “Dedh taal”, which involves a changing pattern in a single song.

A huge field of Mulberry trees located in a serene corner of the Janeshwar Mishra park was chosen as the location for their recording. The rustic ambience of the place generated a naturally instinctive and artful mindset in everyone present for this performance. As the artists began performing the first song called Chaiti, which is about the birth of Lord Rama in the spring season, the mellow winds began to feel like silk rubbing against the skin. The contribution of each of the artists coming in harmony was one of the most profound experiences one can get.

Being a multitalented musician, Ankit, also had an incredible vocal ability and supported both the sisters with his backing vocals beautifully in a song called Nakta which had beautifully written lyrics along with one of the most soothing melodies ever created. By the end of the performance, there was none who wished to wrap up, and yet they left us feeling satisfied and fulfilled. Recording with the studio-quality equipment for the first time, these artists gave us all a once-in-a-lifetime experience that will be cherished by each and everyone who was in the vicinity while it unfolded in the most peculiar yet graceful manner possible. 

“An undeniable concordance of melody.”

The state of Uttar Pradesh, being the most populated, is bound to be one of the most cultured states within the country, and being in the heart of the state is a privilege for all explorers of art and culture. As we moved further in our exploration of music in Awadh, we learned about more classical and folk art forms in the state. Some were purely musical, and others had a few dance forms accompanying the beats. Most of the folk music that we discovered brought together various elements of nature. This time, our journey has brought us to a highly educated and accomplished musician and singer of a congruent opinion, Dr Seema Bharadwaj.

The team’s first interaction was at Bhatkhande University, one of the oldest educational institutions of Lucknow when it comes to the field of music and art forms related to it. Everyone at the University would speak of how well-read and educated she is and her expertise in music. Being an academic and an accomplished music teacher, she ushered in confidently as we discussed different art forms to be explored in the region of Awadh, the most prominent ones being Sugam Sangeet and Thumri.

Inspired by her mother during her childhood, she began learning from her at the tender age of 6. Eventually taking advanced training in music at Bhatkhande University and eventually joined as a staff. Her spirit and maturity about how she approaches her work and practice in music are commendable. Her belief that music lies in every individual and goes hand in hand with nature is reflected in her undeniable vocal finesse. She elaborated her experience with musical practices as a profoundly spiritual experience that she discovered during childhood and youth. One of her stories about how nature and their attraction, while she practised her vocals, was the most awe-inspiring as she told us about the money plant that would grow in the direction that she’d sit in instead of growing out the window towards the sun.

The next afternoon, we experienced her vocal grace along with her fellow artists who were diverse in terms of their experience as there was a young student who was being taught by her, two highly experienced and coveted musicians from the University, and a Sarangi maestro, Zeeshan Abbas. While Arjun Bhatt Ji, a highly coveted Tabla player in the city of Lucknow, came in with a cheerful attitude only to enliven the scene with his vibrant smile. He went on to talk about the beats and percussion he has mastered so diligently through his experience in playing the Tabla. Prakhar Pandey, the young student who is learning and developing his vocal skills with a dazzling talent assisted the group in highlighting her choruses with his backing vocals. His eyes were twinkling, and his smile was serene. As silent as he was during the setting up of our portable studio equipment before the recording, his deep and soothing voice only added up to the charm of the show.

When we began recording their songs, we heard Dr Seema’s beautiful voice bloom and set an undeniably concording tone with each instrument sounding in harmony with each other. The sensational beats of Arjun Ji’s Tabla and the symphonious Sarangi came together so that losing ourselves into the experience seemed like the only viable option. These songs, primarily spiritual, were concordant to the kind of stories Dr Seema had shared with us, attracting a dancing peacock to the site of the recording. It was a statement made by nature to set this performance apart post which she started singing – 

“Sakhi sanwaro Girdhar Gopal,

(Friends let’s ornament Girdhar Gopal)

Jaake mora mukut kundal kaan sobhit,

(Adorn him with a peacock-feathered crown and beautiful earrings)

It was the harmony of music with the natural spirit of these highly talented folk artists that made a mark on all our minds and their masterfulness that gave us all this experience of a lifetime. As we left the site with wonder and awe in our hearts, our holy grail was the spirit of music wrapped into the humility of these artists who set out to preserve, perform, and at the same time master the originality of the outset of tunes that rule a billion hearts in the country.

“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.