Preserving Our Intangible Heritage Of Folk Music

If one tries to conceptualise a world without music, it would be impossible. In this war-torn world music is one of the few things that bridges cultures and becomes a medium of communication. Created by man and often attributed to the divine, everyone in the world understands the language of music. Rabindranath Tagore once said, "Music fills the infinite between two souls." It's a powerful medium that touches people's heart and transports them to a world where one lets go of all inhibitions.

Music tells us stories of people, emotions and cultures and at times makes us feel in a way that we didn't know was possible. India, a culturally diverse country, is known for its wide range of folk music. The tradition of folk songs has a history that both goes way back in time and also continues to evolve. Some of them have come out of the rural areas and have extended to the major cities, and has become an essential part of every Indian's life as sources of entertainment, religious and cultural expression.

Talking about spiritual expression, the Bauls, a community of mystic minstrels in West Bengal and Bangladesh are known for their soulful music called the Baul Gaan. Their songs have been inspiring the masses from times unknown, though you'll find certain Baul songs in folk poetry from a thousand years ago, so we're talking of a really old tradition. Bauls are not a part of any organised religion or caste. Their music is an expression of love and devotion and their religion is an expression of the unity of nature and the soul of man. The sweetness of the language and soothing sound of the iktara has won the hearts of many, including Rabindranath Tagore who was greatly inspired by their music and also incorporated it in his poems and songs. Their music has influenced the way of life of many and with its growing popularity it has made people realise the importance of conservation of such traditions. Through the efforts of UNESCO, much of our folk music is seeing a new resurgence.

With the growth of instantly disposable popular culture, it has become more challenging to bring back our old and forgotten folk culture. Pankhida, a song sung by farmers working in the fields in Rajasthan, has remained in the remote villages. So has Panihari, a song sung by women in Rajasthan describing their daily chores, has become more of a memory. Although folk music like the Pandavani of Chhattisgarh, which tells the story of the Mahabharata, and Baul made it to the cities, they need more recognition. Our folk songs are a reflection of our deep and diverse culture, and an indispensable part of rural lives. From weddings to daily chores to sex education, there's a song for every occasion.

The lyrical ballads of Tripura, a state located in the eastern part of India, offer a glimpse into the cultural ethos and historical narratives of the region, but are also slowly fading into oblivion as less and less people practise it. These songs, known as "Kirtan," are melodious compositions that narrate tales of love, valour, and mythology. These ballads are often accompanied by traditional musical instruments such as the bamboo flute, dholak (a double-headed hand drum), and khartal (wooden clappers). The lyrics of Tripura's ballads reflect the joys and sorrows of everyday life, as well as the spiritual beliefs and cultural practices of the indigenous communities inhabiting the region.

Punjabis also perform 'Kirtan', a devotional musical form in Sikhism, creating a transcendent experience blending spiritual devotion with musical artistry. Accompanied by harmonium, tabla, and sometimes string instruments like dilruba, their soulful renditions uplift listeners' spirits. Kirtan, typically performed in Gurdwaras (Sikh temples) and community gatherings, carries messages of peace, love, and unity. Punjabi Kirtan artists infuse their performances with passion and reverence, fostering a profound connection between the performers, the audience, and the divine.

Bhavageete, a distinctive genre of Kannada music holds a special place in Karnataka's cultural landscape. Translating to "emotion-filled songs," Bhavageete is known for its deeply emotional lyrics, which often delve into themes of love, longing, nostalgia, and the human condition. Emerging in the early 20th century, the folk music found its roots in the literary movement of Navodaya, led by prominent Kannada poets and writers like Kuvempu, D.R. Bendre, and K.S. Narasimhaswamy. These poets penned evocative verses that captured the essence of human emotions and societal issues, which were then set to music by talented composers such as Mysore Ananthaswamy, C. Ashwath, and H.K. Narayana. One of the defining features of Bhavageete is its ability to resonate with listeners on a deeply personal level, evoking a range of emotions and stirring the soul, whether it's a poignant reflection on love and loss or a commentary on social issues,

Mando, derived from the Portuguese word "mandar," meaning to command or ask, encapsulates the essence of Goan musical heritage with its poignant melodies and poetic lyrics. Originating during the Portuguese colonial era, Mando emerged as a unique blend of European musical influences with indigenous Goan rhythms and themes. Mando compositions, typically performed in a duet format, feature haunting melodies accompanied by the plaintive strains of the violin, guitar, and mandolin. The lyrics, sung in Konkani, Goa's native language, evoke themes of love, longing, and nostalgia, often depicting the idyllic landscapes and romantic narratives of Goan life.

Conservation of these arts is very important because these aren't just random songs, they are an oral history of our country, told through stories of love and devotion, struggle and redemption. These songs give a sense of belonging to the Indian diaspora as well. There are so many people who are in search of their roots and what better way than music to get an insight of our culture Just to hear these songs is a form of travel to an ethereal yet earthly place called home.