Doli Dana Mandir is a hidden treasure in Almora, known to only a few locals. Once you visit, its beauty captivates you, and you find yourself longing to return. Families often come here to enjoy the pure air and take morning and evening walks. They also seek blessings at the temple of the Goddess. Today, we chose this serene location for recording Narayan Thapa and Naveen Bisht.
Due to the intense sunlight, we all gathered under a tree, discussing folk music. The artists shared that the unprecedented heat this year in Almora, a hill region, is surprising. People seem to be neglecting the care of nature, leading to such conditions, just as they are neglecting the preservation of folk music. As we sat under the tree, drinking cold water and talking, Krishna Mohan Bisht expressed his desire to record “Bair Bhagnaul,” a nearly extinct form of music, next time.
In our initial research, we discovered that “Bair Bhagnaul” was a genre where people used songs to ask mysterious questions and answer them in the same musical manner. We asked many people about this genre but couldn’t find anyone who still performed it. Hearing Krishna Mohan mention “Bair Bhagnaul” sparked our interest in understanding these songs. Krishna Mohan explained that he used to sing “Bair Bhagnaul” often, and many events were organized around it, but the youth’s interest has waned. The elders who used to sing either passed away or stopped due to old age.
At our request, Krishna Mohan Bisht sang a few lines, and the present artists immediately joined in. Their enthusiasm made us realize how special this genre was. We looked at each other, thinking how wonderful it would be to record a “Bair Bhagnaul” and share it with future generations.
Though everyone was tired, the artists’ enthusiasm filled us with energy, and we told them we were ready to record the “Bair Bhagnaul” song. Hearing this, all the artists quickly prepared themselves. We learned that in this genre, one artist would ask a question, and the other would answer it, with two people providing background vocals (ter). Naveen Bisht would be the questioner, and Krishna Mohan Bisht Nanda, an expert Hudka player, would answer. Narayan Thapa was ready to accompany on the second Hudka, and Ramesh Mehta was present for the chorus and background vocals.
After setting up our mics and cameras, we called the artists to the recording spot and announced we were ready. The artists come in front of the camera, and we announce “rolling.” Krishna Mohan, along with his fellow artists, begins the song.
The song begins by remembering and invoking the goddess with the chorus line “Vasudev, Gokul ko Jaavo Tum,” followed by a series of questions and answers. Naveen asked, “How do fruits grow separately but ripen together on a tree?” Krishna Mohan replied, “This symbolizes unity despite individual differences.” The next question was, “What is the miracle of pots made on the potter’s wheel?” The answer was, “Different pots are made separately but fired together in one kiln, representing transformation and unity.” The song conveyed a message of unity and equality through these questions and answers.
Then, Naveen asked, “How many hairs does the mother-in-law have on her head?” Krishna Mohan replied, “She has two hairs, one black and one white, symbolizing duality and coexistence.”
The song continued with the other artists making “shom shom shom” sounds and providing chorus with the Hudka’s rhythm. The catchy tune and the artists’ enthusiasm during the performance were remarkable. We were fortunate to experience this nearly extinct genre and are excited to share it with all of you.
