Songs of The Unheard: Folk Music as The Voice of The Marginalised

Folk music is a kind of traditional, often rural music that represents the cultural heartbeat of India. Anchored in oral traditions expressing the everyday struggles of human beings, folk music differs from other forms of music, like classical music, by being more rooted to the cultural realities of the rural population and the marginalised sections of society. 

Illustration by The Geostrata

In India, folk music is a tool of cultural identifiers of a diverse region. From the vibrant Bhangra of Punjab to the narrative Villu Pattu in Tamil Nadu, from the soulful Baul of Bengal to the melodic Manganiyars of Rajasthan, folk music in India is a musical symbolisation of hope, struggle, love, and strength. Though constantly threatened by the rising commercialisation of music, folk music continues to voice out the untold stories of the silenced voices.    

HISTORICAL BACKGROUND 

Folk music in India has existed since the Vedic Ages, as evident from the songs sung during rituals like thread ceremonies, marriages, death rituals, and births. These were also known as ‘Gathas’which later took the form of folk music.  

During India’s national movement, folk music played an important role in mobilising the masses. Patriotic songs have gained popularity across generations.

These songs have proved to be instrumental in creating awareness about the imperative of freedom in the minds of the masses and mobilising them.  Bhojpuri folk songs were also becoming a significant medium for demonstrating nationalist sentiments, especially during the 1857 revolt.  

Music also played a very remarkable role in political and social movements across India. For instance, after the revocation of the 1934 ban in 1942, the Communist Party in India leveraged the folk culture and dramas through organisations like the Indian People’s Theatre Association (IPTA) to mobilise middle-class intellectuals.  

Gandhi’s arrival in politics in 1915 led to a surge of patriotic songs. To enhance impact, these songs used various folk forms like raasdas, garba, bhajan, akhyan, and pawda, alongside riddles and regional popular lyrics. On the other hand, traditional folk were themselves revitalised by the patriotic details that got infused in these songs.   

During the Quit India Movement in 1942, the patriotic songs became more aggressive as the masses were angry, and poets became militant, expressing their anguish through songs, mostly because of the widespread arrest of the national leaders. A notable development during this period was that poets of traditional garba songs started to invoke fiery goddesses like Chandika, Kali, Durga, Bahuchari, and Ambika, urging the goddesses to overthrow British rule in India.  

Besides Gujarati and Bhojpuri folk music, the Alha category from the northern part of the country, predominantly Bundelkhand, also helped in instilling nationalist feelings.   Therefore, folk music played a crucial role in fostering nationalism among the Indians throughout the country. Composers used various styles of music, amalgamating known folk tunes to reach a varied audience, instilling deep patriotic sentiments.   

KOCHI-RAJBANSHIS OF ASSAM

Folk Music in India has long been an instrument for voicing out the struggles of the marginalised sections of society, declaring their distinctiveness and resisting oppression. This musical tradition has not only preserved the rich cultural and diverse heritage of the country but also has acted as a tool of social commentary and transformation.

In Assam, the Koch-Rajbanshis are a major tribe whose cultural roots were weakened following the territorial division into Bengal and Assam spearheaded by the British authorities.

As an outcome of the split, the Rajbanshis in Bengal lost their language and cultural roots, while those in Assam were also reduced to an inferior community and even called 'Goalparia Bengalis' by the mainstream in Assam.  

At such a crossroads, Pratima Barua Pandey’s Goalparia folk music became a powerful instrument, instilling hope and giving direction for reclaiming the Kochi Rajbanshis’ social, linguistic, and cultural identity. Dr. Bhupen Hazarika and Pratima Barua Pandey revived the Goalparia folk music, which was originally known as  'Desi' or 'Bhawaiya Geet', or ‘Goalparia Lokageet.’

Pratima Barua Pandey’s songs became a cultural identity of the Rajbanshi community and helped in fostering a shared sense of belongingness. Her collection of songs covered various human relationships and social subtleties like materialistic spiritualism (Dehatatta), tragedy (Biraha), love (Prem), and the poignant tales of elephantmen (Mahut) and buffalomen (Maishal), giving dignity and visibility to everyday lives. Her songs also mirrored secular sentiments by including aspects of the Muslim community and delved into divine themes like the love of Lord Krishna, creating a rich and inclusive mosaic of music, uplifting and uniting the marginalised sections.

BAULS OF BENGAL

The Bauls and the Fakirs of Bengal are rural minstrels who are socially and economically backward and identify themselves outside the mainstream religion and caste system in India. Their diverse spiritual tradition are historically shaped by various influences like Sahajiya (Bajrayana Buddhism), Bhakti (Hindu Vaishnavism/Tantric tradition), and Sufi/Dervish mysticism (Islamic Marifat).

Through their songs, these singers questioned the social inequalities and promoted reflective spiritual and humane practices to raise social awareness and lead to a more equitable society. The Baul tradition was recognised by UNESCO as a "masterpiece of the oral and intangible heritage of humanity" in 2005.

The Bauls, regardless of their contributions, face dire consequences. They are, like any other anti-establishment folk performers, often targeted for criticising the dominant social and religious systems. Further, the rise of “fake bauls” threatens their existence and authenticity. Media piracy is also a very important issue, leading to folk artists earning very little or no money for their music sales. 

RAJASTHANI FOLK MUSIC

The Rajasthani folk music is losing its tradition despite the global recognition. These traditions are primarily protected by the marginalised hereditary musical communities, the Manganiyars and Langas. The main reason for the decline of these traditions is the absence of local support and their cultural contexts. The musicians in the present times perform famous songs like  "Padharo Mhare Des" which do not have their roots in the Manganiyar traditions.  

Despite the global success, in reality, their success is short-lived. These musicians travel all over the world but return to their impoverished villages, losing their relevance in their homeland. 

CONCLUSION

To conclude, folk music remains a vital and relevant part of India’s cultural tapestry and a significant voice of the marginalised communities, voicing out their struggles, oppression, and resistance to systemic injustices. However, this long-established tradition faces a struggle due to the rising commercialisation that often hampers the authenticity of these traditions. Therefore, it becomes imperative to preserve this time-honoured Indian tradition, which is losing its relevance today.

In order to preserve this rich folk music, it is important to ensure more community-driven support, preserve the rights of these artists, as well as uphold the authenticity of this music form in the face of rising commercial pressure. If not preserved today, the voices that once gave life to the margins of the nation will lose their existence in the middle of the cacophony of voices. 

---

BY ANUSHKA DHAR

TEAM GEOSTRATA

info@thegeostrata.com