Is Lok Geet Still Folk Music? A Changing Cultural Identity in Purvanchal and Western Bihar

 

Introduction

The Bhojpuri-speaking region of South Asia, including Purvanchal in eastern Uttar Pradesh and western Bihar, has one of the richest folk music traditions in India. For centuries, folk songs, or Lok Geet, have been an important part of social and cultural life. They accompanied every stage of life, from birth to death, and reflected the customs, language, beliefs, and emotions of the people. Songs such as Sohar, Kajri, Chaiti, Birha, Nirgun, Pachra, Purbi, Bidesia, and various Sanskar Lok Geet were created and preserved by local communities rather than by professional musicians. Today, however, the cultural environment in which these songs developed has changed significantly. This raises an important question. Can the music that is currently marketed as Bhojpuri folk music still be considered traditional Lok Geet?

From Community Tradition to Commercial Production

Traditionally, Lok Geet were not written for commercial success. They were created collectively and transmitted orally from one generation to another. There was no individual composer, no recording studio, and no copyright. Every village had its own musical variations, and songs changed naturally over time through community participation. During the last fifty years, this system has changed. The cassette industry of the 1980s introduced Bhojpuri music into commercial markets. Later, compact discs, television, and digital media expanded its audience. Today, YouTube, streaming platforms, and social media have transformed Bhojpuri music into a large entertainment industry with millions of listeners. This development has increased the visibility of Bhojpuri music, but it has also changed the way it is created. A large proportion of songs labelled as "folk" are now written by professional lyricists, composed in studios, programmed with electronic instruments, and produced for commercial distribution. These songs often borrow melodies, language, and themes from traditional Lok Geet, but their purpose is primarily commercial rather than cultural.

Why Has This Change Happened?

Several social changes have contributed to this transformation.

Rapid urbanisation has changed the social structure of villages. According to the Census of India, the urban population has increased steadily during the last four decades, while migration from eastern Uttar Pradesh and Bihar has become one of the largest internal migration movements in the country. At the same time, agriculture has declined as the main source of livelihood, and many rural families have shifted towards employment in the industrial and service sectors. These changes have reduced opportunities for collective singing during agricultural work, seasonal festivals, and family ceremonies. Joint families have gradually been replaced by nuclear families, and many traditional ceremonies now rely on recorded music or DJs instead of live performances by community members.

The spread of mobile phones, internet access, and digital entertainment has further changed listening habits. Young people are more likely to discover Bhojpuri music through online platforms than through family traditions.

The Present Condition of Lok Geet

Traditional Lok Geet have not completely disappeared, but their role has changed. Authentic Sohar, Kajri, Chaiti, Nirgun, and Sanskar Lok Geet can still be heard in some villages and among Bhojpuri diaspora communities. However, they now represent only a small part of the larger Bhojpuri music industry. Many of today's commercially successful songs are inspired by folk traditions but cannot be fully described as traditional folk music. Their creation, ownership, production, and distribution follow the structure of the modern music industry rather than the traditional community-based system. Therefore, it may be more appropriate to describe much of today's music as commercial folk-inspired music or regional popular music, rather than traditional Lok Geet.

Challenges for Artists and Cultural Heritage

Another important concern is the condition of traditional folk artists. Many village singers continue to face financial hardship and often depend on agriculture or daily-wage work for their livelihoods. At the same time, commercially adapted versions of traditional songs generate significant income for production companies and digital platforms, while the original custodians of these traditions receive little recognition or financial benefit. Traditional musical instruments are also becoming rare. Instruments that once formed an essential part of Bhojpuri folk performances are increasingly replaced by electronic keyboards, digital percussion, and computer-generated sounds. Instrument makers and repair artisans are gradually disappearing due to limited demand for their skills. Research and documentation remain inadequate. Compared with Indian classical music, there are very few systematic archives, musical transcriptions, field recordings, or long-term research projects dedicated to the Lok Geet traditions of Purvanchal and western Bihar. As a result, many songs survive only in the memories of elderly performers.

Why Do Lok Geet Still Matter?

The value of Lok Geet extends far beyond music. They preserve the Bhojpuri language, regional history, social values, women's experiences, agricultural traditions, and local knowledge. They are important sources for understanding the cultural identity of the Bhojpuri-speaking region. If these songs disappear, an important part of the region's intangible cultural heritage will also be lost. Recording songs in digital formats is important, but documentation alone cannot preserve a living tradition. Lok Geet survive only when they continue to be sung within families and communities.

Conclusion

The question is not whether Bhojpuri Lok Geet should change. Every living tradition evolves with time. The real issue is whether these songs continue to represent the cultural life of the communities that created them. Today, much of what is marketed as Bhojpuri folk music is better understood as commercially produced music inspired by folk traditions. At the same time, authentic Lok Geet continue to survive in limited social spaces where community participation remains active. The future of Bhojpuri musical heritage depends on documentation, research, community participation, support for traditional artists, preservation of indigenous musical instruments, and cultural policies that encourage intergenerational transmission. Without these efforts, the Bhojpuri-speaking region may continue to produce successful commercial music while gradually losing one of its most valuable cultural traditions

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Purvanchal Ke Sanskar geet : Music, Culture, and the Identity

Purvanchal is known not only for its rich history, sacred geography, and vibrant languages but also for its remarkable folk traditions. Among these traditions, folk songs occupy a special place because they preserve the emotions, beliefs, customs, and everyday experiences of the people. These songs are more than musical performances. They are living expressions of community life and cultural identity that have been passed from one generation to another through oral tradition. Music has always been an essential part of life in Purvanchal. Every important occasion, whether joyful or emotional, is accompanied by singing. Through these songs, communities celebrate birth, marriage, festivals, seasons, agricultural activities, and even moments of loss. Folk music, therefore, reflects the rhythm of life itself and continues to shape the region's cultural identity.

The Rich Tradition of Folk Songs in Purvanchal

The folk music tradition of Purvanchal is broad and diverse. Different songs are performed according to the occasion, season, occupation, and stage of life. Some of the major forms include Kajri, Chaiti, Hori, Birha, Purbi, Jhumar, Barahmasa, Alha, Sohar, Vivaah Geet, Kajli, Nirgun, Bhajan, Devi Geet, and Sanskar Geet. Each form represents a different aspect of social and cultural life. Seasonal songs such as Kajri and Chaiti celebrate changes in nature and the agricultural cycle. Hori is associated with the festival of Holi, while Birha expresses separation and longing. Nirgun and Bhajan reflect spiritual devotion, whereas Devi Geet are sung during religious ceremonies dedicated to local and Hindu deities. Among all these traditions, Sanskar Geet occupy a unique position because they accompany the important milestones of human life.

What Are Sanskar Geets

Sanskar Songs are traditional songs performed during various life-cycle ceremonies. They transform religious rituals into shared cultural experiences by bringing together family members, relatives, neighbours, and the wider community. Rather than being formal performances, these songs are sung collectively and naturally as part of everyday social life. The tradition begins with the birth of a child and continues through different stages of life until death. Every important ceremony has its own musical identity, making Sanskar Songs an inseparable part of the cultural life of Purvanchal. These songs preserve not only melodies but also memories, relationships, values, and local knowledge that have been passed down through generations.

Major Types of Sanskar Geet

The journey of Sanskar Geet begins with Sohar, which is sung to celebrate a child’s birth. These songs express happiness, gratitude, blessings, and hopes for the newborn's future. Closely related to Sohar is Badhai Geet, which celebrates the arrival of a new member of the family through joyful singing and playful interaction. The Mundan ceremony is accompanied by songs that bless the child with health, prosperity, and a bright future. Similarly, the Janeu or Yajnopavita ceremony includes songs that emphasise learning, discipline, knowledge, and social responsibility.

Marriage is the richest stage in the Sanskar tradition and encompasses numerous song forms performed across various rituals. These include Mangal Geet, Devi Geet, Sagun, Tilak Geet, Haldi Geet, Matkor, Madwa, Lava, Sindurdan, Kohbar, Chumawan, Parichhan, Imli Ghotai, Manar Pujai, Vidai Geet, and later Gauna Geet. Each reflects a different emotional and ceremonial moment, ranging from celebration and humour to affection, blessings, and farewell. Certain devotional songs and ritual laments are associated with death ceremonies. These compositions help families express grief while also conveying the belief that life continues beyond physical existence.

Music That Connects Communities

One of the most remarkable features of Purvanchal Sanskar Geet is their musical simplicity. Their melodies are easy to sing, allowing people of all ages to participate. Most songs are performed collectively, with one experienced singer leading while others respond together. This style creates a sense of unity and strengthens social relationships. Traditional rhythmic patterns such as Keharwa, Dadra, and Deepchandi are commonly heard in these songs. Musical accompaniment is generally limited to Dholak, Manjira, and hand clapping, ensuring that the focus remains on collective participation rather than technical performance. In these traditions, emotional expression is valued more than musical perfection.

The Voice of Culture and Identity

Sanskar Geet are much more than ritual music. They preserve the cultural identity of Purvanchal by documenting the region's customs, beliefs, language, and values. Through these songs, people learn about family relationships, respect for elders, community cooperation, and the importance of shared traditions. The songs also preserve Bhojpuri and other regional dialects, which carry local expressions and cultural meanings that cannot easily be translated into other languages. They serve as a living archive of oral literature and demonstrate how music helps preserve language and identity together.

Women have played the central role in keeping this tradition alive. For centuries, mothers, grandmothers, and elderly women have passed these songs to younger generations through participation rather than formal teaching. Their voices preserve family history, emotional experiences, and social knowledge that often remain absent from written records. In this way, Sanskar Geet also represent an important archive of women's cultural heritage.

Challenges in the Modern World

Like many oral traditions, Sanskar Geet face several challenges today. The growth of nuclear families has reduced opportunities for younger generations to learn songs from elders. Urbanisation and migration have changed family life, while recorded music and DJs have replaced traditional singing in many ceremonies. The declining use of regional languages has further weakened the connection between young people and their musical heritage. Despite these challenges, the tradition has not disappeared. Many families in rural Purvanchal, as well as migrant communities living in other parts of India and abroad, continue to perform these songs during important ceremonies. Their continued practice demonstrates the resilience of cultural traditions even in changing social conditions.

Preserving a Living Heritage

The future of Sanskar Geet depends on both community participation and systematic documentation. Recording performances, preparing written collections, creating digital archives, and encouraging research in universities can help preserve this valuable tradition. Schools and higher education institutions can also introduce regional folk music into their curricula, helping students understand the cultural significance of their local heritage. Digital platforms, online archives, podcasts, and audio-visual documentation provide new opportunities to make these traditions accessible to younger generations. At the same time, preservation should not remain limited to archives. The songs must continue to be sung during family and community ceremonies, because living traditions survive through practice rather than documentation alone.

Conclusion

Purvanchal’s Sanskar Geet are among the most valuable expressions of India's folk heritage. They combine music, language, ritual, memory, and community into a single cultural tradition that has shaped the region’s identity for centuries. From the joyful celebration of birth to the emotional farewell of marriage and the philosophical acceptance of death, these songs accompany every important stage of life. Preserving Sanskar Geet means preserving much more than music. It means protecting the cultural memory, linguistic richness, social values, and collective identity of Purvanchal. As long as these songs continue to be sung, they will remain a living bridge between the past, the present, and the future.

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Call for book chapters Rasa theory in contemporary performance: Reinterpreting indian aesthetics

 

Call for book chapters

Rasa theory in contemporary performance:

Reinterpreting indian aesthetics

Last date of submission

15th July 2026

About the book

Rasa Theory in Contemporary Performance: reinterpreting indian aesthetics is an edited scholarly volume that critically re-examines the classical indian theory of rasa in the context of contemporary performing arts. The book aims to establish a meaningful dialogue between ancient Indian aesthetic thought and present-day performance practices. It explores rasa not merely as a historical doctrine but as a living and evolving aesthetic philosophy shaping contemporary music, dance, theatre, instrumental traditions, and folk performance forms.

This volume invites analytical and critically engaged scholarship that reinterprets rasa within modern artistic, philosophical, and performative contexts.

Advisory committee

Prof. Dr. Dr. Dr.Wolfgang Mastnak, Germany

Prof. Ravikesh Srivastava, Vice Chancellor, Vijaybhoomi University

Prof. Ravi Sharma, Ex Dean, MDU Rohtak (Proposed )

Dr. Surendra Kumar, Associate Professor, Allahabad

Editor

Dr. Kumar Sargam. India
Dr. Navpreet Kaur, Italy

Co editor

Professor Dr. Dr. Dr. Wolfgang Mastnak, Germany

Submission guidelines

Minimum word limit: 3000 words
Longer chapters with substantial research depth are welcome
Font Times New Roman size 12, including titles and subtitles
Referencing style APA 7th edition or the latest version
Proper citation and bibliography are mandatory
Chapters without references will not be considered
Turnitin plagiarism report required with a similarity below 10 percentage
Author details must include full name, institutional affiliation, and a brief bio note
All submissions will undergo rigorous peer review and academic quality assessment

Scope and focus

Scholars, researchers, and practitioners are invited to submit original research based chapters engaging with rasa and its associated aesthetic dimensions.

Themes may include:

Rasa and human aesthetic consciousness
Rasa, emotion, and psychology
Rasa and mental health
Rasa in the age of artificial intelligence
Rasa and cross cultural aesthetics
Rasa in hindustani and carnatic music
Rasa in kathak, bharatanatyam, and theatre
Rasa in instrumental and folk traditions
Contemporary reinterpretations of bharata
Reassessment of sthayi bhava, vibhava, anubhava, and sanchari bhava
Comparative and interdisciplinary perspectives
New theoretical frameworks for understanding rasa in the 21st century

Analytical and critically grounded contributions with strong conceptual and methodological clarity are highly encouraged. Innovative and deeply researched interdisciplinary chapters are welcome with no restriction, provided they are meaningfully connected to rasa and aesthetics.

Editorial note

This edited volume, rasa theory in Contemporary Performance: reinterpreting indian aesthetics, is guided by an interdisciplinary editorial vision that seeks to re-examine the classical indian theory of rasa in relation to contemporary artistic and intellectual discourse.

The volume is edited by Dr. Kumar Sargam and Dr. Navpreet Kaur Italy, whose academic engagement with indian aesthetics, musicology, and performance studies has inspired the conceptual framework of this project. Along with them, the volume is co edited by Professor Dr. Dr. Dr. Wolfgang Mastnak Germany, whose interdisciplinary scholarship in music aesthetics, psychology, and music therapy provides an important perspective for understanding the relevance of aesthetic experience in contemporary society.

Publication details

The book will be published under a reputed academic publisher with an ISBN number
There are no publication charges upon acceptance of the chapter
Book cost is as per MRP and publisher guidelines

Contact

Editor :

Dr. Kumar Sargam
kukusa221@gmail.com
www.musicbanaras.com

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Shifting Paradigms of Tribal Music in India

 

Tribal music in India has long functioned as a vital expression of cultural identity, social structure, and collective memory. Rooted in rituals, festivals, and agrarian life, it has served as a medium through which communities transmit knowledge, values, and traditions across generations. Unlike formalised musical systems, tribal music is primarily oral, participatory, and context-driven, reflecting the lived experiences of indigenous communities. However, in recent decades, these traditions have undergone significant transformation due to broader processes of social and cultural change.

Contemporary research in anthropology and cultural studies highlights that tribal societies are not isolated or static, but dynamic and continuously evolving. Social change has become an inherent aspect of tribal life, requiring communities to negotiate between their indigenous traditions and external influences. As noted in studies on tribal transformation, the integration of tribal groups into regional, national, and global systems has altered their cultural practices, including music. This transformation is not merely a loss of tradition but a process of adaptation and reconfiguration. One of the primary drivers of this shift is modernisation. The transition from subsistence-based economies to market-oriented systems has reshaped the socio-economic fabric of tribal communities. Traditional contexts of musical performance, such as agricultural cycles and communal gatherings, are gradually diminishing. As a result, music that once emerged organically from daily life is increasingly being relocated to staged performances, institutional platforms, and cultural exhibitions, often detached from its original meaning. Migration has further accelerated these changes. Economic pressures and employment opportunities have led to increased mobility among tribal populations, exposing them to diverse cultural environments. This has resulted in the adoption of new musical styles, instruments, and forms of expression. While such interactions foster cultural exchange, they also contribute to the weakening of localised traditions, as younger generations show a greater inclination towards contemporary and globally influenced music.

The expansion of digital media and the commercialisation of music have also had a profound impact. Modern platforms prioritise standardised, high-production content that appeals to wider audiences. In contrast, tribal music, which relies on oral transmission and community participation, often lacks visibility in such spaces. Consequently, traditional instruments and performance practices face the risk of marginalisation and gradual disappearance.Economic challenges further compound this situation. Traditional musicians frequently lack sustainable sources of income, and the decline of community-based patronage has reduced support for their art. Without institutional mechanisms for preservation and promotion, many practitioners are unable to continue their musical traditions. At the same time, there is a growing awareness of cultural identity among tribal communities, leading to efforts to revive and preserve it. These initiatives reflect a conscious attempt to reclaim cultural heritage in the face of rapid change.

In conclusion, the shifting paradigms of tribal music in India illustrate a complex interplay between tradition and modernity. While processes such as modernisation, migration, and globalisation have transformed musical practices, they have also created new possibilities for adaptation and innovation. The challenge lies in ensuring that these transformations do not erode cultural heritage. Sustainable approaches that combine documentation, education, and community participation are essential to preserve the essence of tribal music while enabling its continuity in a changing world.

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Punjab Folk Music in Transition: A Cultural Analysis

 

The musical traditions of Punjab have historically been embedded within the socio-cultural and agrarian life of the region, functioning as integral modes of expression, communication, and identity formation. Folk genres such as gidda, mahiya, and tappay, along with instruments like tumbi and jodi, have traditionally reflected the rhythms of rural life, seasonal cycles, and community rituals. These musical forms were sustained through oral transmission and collective participation, thereby ensuring continuity across generations. Scholarly perspectives on tribal and folk cultures in India suggest that such traditions should not be understood as static or isolated entities, but as dynamic systems that evolve through historical interactions, socioeconomic changes, and cultural exchanges. In this context, the transformation of Punjabi musical traditions may be examined as part of a broader process of cultural negotiation shaped by migration, globalisation, and institutional shifts.

One of the central factors influencing the transformation of Punjabi folk music is the extensive migration of Punjabi populations to Western countries, particularly Canada, the United States, and the United Kingdom. This diasporic movement has led to the reconfiguration of Punjabi musical identity within transnational contexts. Research on Punjabi music indicates that diasporic communities often engage with music as a marker of identity, while simultaneously adapting it to global musical frameworks. This has resulted in the emergence of hybrid genres that integrate traditional Punjabi elements with contemporary forms such as hip hop, rap, and electronic music. While such developments have contributed to the global dissemination and commercial success of Punjabi music, they have also shifted its orientation from community-centred practices to industry-driven production models. Parallel to this outward migration, Punjab has experienced significant inward migration from states such as Bihar, Uttar Pradesh, West Bengal, Himachal Pradesh, and Kashmir, particularly in the sectors of agriculture, industry, and labour. This demographic transformation has generated a pluralistic cultural environment, yet it has also contributed to the gradual weakening of localised folk practices that were previously sustained within relatively homogeneous community settings. The role of education and language in shaping cultural preferences constitutes another critical dimension of this transformation. The increasing prominence of English medium education in Punjab has influenced linguistic practices and cultural affiliations, particularly among younger generations. Language being central to musical expression, the shift towards English as a medium of aspiration and mobility has had implications for the transmission of Punjabi folk traditions. Empirical observations indicate a declining engagement with Punjabi language-based musical forms, resulting in reduced intergenerational continuity. Furthermore, the expansion of digital media and global music industries has facilitated the rapid growth of Punjabi popular music, characterised by high production values, electronic instrumentation, and global stylistic influences. While this has enhanced visibility and economic viability, it has simultaneously marginalised traditional musical forms that are rooted in oral traditions and community participation. The decline of traditional instruments and performance practices represents a significant outcome of these structural changes. Instruments such as the tumbi and jodi, once central to Punjabi folk expression, are increasingly absent from contemporary musical practice, and performance traditions such as gidda and mahiya are largely confined to staged or institutional contexts. This phenomenon aligns with broader patterns observed in indigenous musical traditions across India, where modernisation, urbanisation, and limited institutional support contribute to the erosion of intangible cultural heritage. Studies on indigenous music revival in regions such as Jharkhand emphasise that music functions as a repository of collective memory, identity, and social resilience, and its decline signifies a deeper process of cultural disconnection. Additionally, the economic marginalisation of traditional musicians, coupled with the decline of community-based patronage systems, has reduced the viability of sustaining folk musical practices. The dominance of industry-produced music and instruments further constrains the ability of traditional practitioners to adapt to contemporary market structures.

In conclusion, the transformation of Punjabi musical traditions reflects a complex interplay of migration, globalisation, educational shifts, and economic restructuring. While contemporary Punjabi music has achieved significant global prominence through diasporic networks and digital platforms, traditional folk practices face challenges related to continuity, relevance, and sustainability. The analysis indicates that the erosion of these traditions is not merely a cultural concern but also a reflection of broader socio-economic transformations. Therefore, there is a need for systematic and evidence-based interventions, including documentation, academic integration, and policy support, to ensure the preservation and revitalisation of Punjabi folk music. Drawing upon models of indigenous music revival that emphasise community participation, institutional collaboration, and sustainable livelihood frameworks, it may be possible to create pathways that allow traditional musical practices to coexist with modern innovations. Such an approach would contribute to maintaining cultural diversity while enabling adaptive transformation within the contemporary musical landscape.

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