Folk Music - Connect Civils

Folk Music is an integral part of Rajasthan Art & Culture, reflecting the traditions, lifestyle, and emotions of the people of the region. It is usually passed down orally from one generation to another and is closely associated with festivals, rituals, and social occasions. Through its simple melodies and meaningful lyrics, folk music preserves the cultural identity and heritage of Rajasthan.

Definition: A spontaneous musical expression of the joys and sorrows, love, and devotion of the common people.
Characteristic: It is free from classical rules and is based on oral tradition.
- Gandhiji – “Folk music is the guardian of culture.”
- RN Tagore – “An art that carries culture from generation to generation.”
- Devendra Satyarthi – “Folk songs are the speaking images of a culture.”

Folk Music Style Of Rajasthan

Maand Singing Style –

Maand was the ancient name of Jaisalmer, therefore, the Maand singing style developed in this region
Initially, it was confined only to the Jaisalmer region, but over time it became popular in other parts of Rajasthan such as Jaipur, Jodhpur, Bikaner, and Udaipur.
This style is known for its delicate expression of Shringara Rasa (romantic sentiment) and Viraha Bhava (separation).

Major Song –
- Kesaraiya Balam – the most famous and principal song of the Maand singing style.
Prominent Artists –
- Allah Jillah Bai (Bikaner, Padma Shri 1982)
- Gavri Devi (Jodhpur, known as “Maru Kokila”)
- Mangi Bai (Udaipur)
- Jamila Bano (Jodhpur)
- Banno Begum (Jaipur)
- Ali–Gani Mohammad
Special Facts –
- For the Maand singing style, Batool Begum (Jaipur) was awarded the Nari Shakti Award 2021.
- This award was conferred on 8 March 2022.
- The Maand singing style is considered an important component of Rajasthan’s cultural identity.

Manganiyar Singing Style –

The Manganiyar singing style developed in the Jaisalmer and Barmer regions of Rajasthan.
This style was developed by the traditional singers of the Manganiyar community.
It uses 6 ragas and 36 raginis.
The Manganiyar singing style reflects the influence of folk life, royal patronage, and social events.
Musical Instruments – Kamaicha, Khartal, Surnai
Prominent Artists –
- Sakar Khan Manganiyar –
  - Wizard of the Kamaicha (Padma Shri 2012, Sangeet Akademi Award 1991)
- Saddiq Khan Manganiyar –
  - Wizard of the Khartal (Padma Shri)
  - Manganiyar Folk Art and Research Council (Jaipur) – 2002
- Anwar Khan Manganiyar (Padma Shri 2020, Sangeet Natak Akademi Award 2017)
- Rukma Manganiyar (Lata of the Thar, Devi Ahilya Samman)

Langa Singing Style –

The Langa singing style developed in the Jaisalmer and Barmer regions by singers of the Langa community.
This style shows a fine coordination of heroism, romantic sentiment, and social emotions.
Musical Instruments Used – Kamaicha, Sarangi
Major Song –
- Nimbuda – the main and most famous song of the Langa singing style

Talbandi Singing Style –

The development of the Talbandi singing style is associated with the reign of Aurangzeb.
When Aurangzeb imposed a ban on music, saints and ascetics from the Mathura (Uttar Pradesh) region migrated towards eastern Rajasthan.
These saints and ascetics developed the Talbandi singing style
In this style,rhythm (tala) holds special importance along with singing.
Musical Instruments Used –
Nagada – the principal instrument of the Talbandi singing style
Harmonium, Tabla

Haveli Sangeet Singing Style –

Region – Nathdwara, Jaipur, Kishangarh, Kota
Primarily a singing style of the Braj region
Association – Sung in all temples of the Vaishnava sect
Lyrics – “Shri Krishnam Sharanam Mam…”
Special Fact – Haveli Sangeet has not been accorded the status of a musical gharana

Phad Singing Style –

Members of the Bhopa community perform Phad singing using different musical instruments, such as:
- Phad of Devnarayan Ji – Instrument: Jantar
- Phad of Pabuji – Instrument: Ravan Hattha

Classification of Folk Songs of Rajasthan

Ritual-related Folk Songs
Other Major Folk Songs
Region-based Folk Songs

Region-based Folk Songs

Region	Key Points
Desert region thar	Region – Jodhpur, Bikaner, Jaisalmer, Barmer Folk Songs – Peepli – A song sung in the Shekhawati region during the Teej festival, in which the wife invites her husband to return home. Moomal – A romantic song describing the head-to-toe beauty of Princess Moomal of Lodrava. Jhorawa – A song of separation, sung when the husband goes abroad/away from home. Kurja – A song in which a message is sent to the husband through the Kurja bird (demoiselle crane). Moomal – “Mhari Barsale Ri Moomal, Halaini Ai Alije Rai Dekh” Kevdo, Ratanrano, Ghughri
Mountain region	Region – Udaipur, Chittorgarh, Pratapgarh, Dungarpur, Banswara, Sirohi (Musical Instrument – Mandal) Folk Songs – Pateliya, Lalar, Bichhiyo, Oonta Ri Asawari, Navri Asawari, Nokhila, Shikar, Machhar Major Tribes – Bhil, Meena, Garasia, Sahariya “Thari Oonta Ri Asawari” – A major folk song of the Mewar region
Plains Region	Region – Jaipur, Alwar, Bharatpur, Kota, Karauli, Dholpur Nature of Songs – Primarily based on devotional (Bhakti) and romantic (Shringara) sentiments
Hadoti Region	Region – Kota, Bundi, Baran, Jhalawar Folk Songs – Bichhuda – Special theme: the wife requests her husband to marry again after her death. Chirmi – A song sung by a newly married bride in remembrance of her parental home.

Ritual-related Folk Songs

Birth, Marriage, Farewell, and Social Rituals

Folk Song	Key Points
Jachcha / Holar	Sung on the birth of a child Collective singing by women A celebration of childbirth in folk society “Mera jachcha ka mann bada bhaari re piya, jamun manga de kaali kaali”
Banna-Banni	Based on the bride and groom before marriage Romantic sentiment (Shringara), humour, and social expectations “Apna banna phool gulabi, banno champa ki kali”
Ghudchadhi(घुड़चढ़ी)	Sung at the time of the groom’s wedding procession (baraat) Male-dominated heroic and उत्साह (Veer–Utsah) sentiment Display of social prestige and valor “Naval banna ghodi chadh gaya, gelai sab bhai”
Haldi Ritual	Sung during the pre-marriage Haldi (turmeric) ritual Auspiciousness, beauty, and protective sentiment Sung by women *“Mharo haldi ro rang surang”*
Mayra or Bhat	Bhāt given by a brother to his sister Represents social responsibility and economic support Reflects the family structure of folk society “Beero bhāt bharan na āsi”
Jala /Jalo(जला/जलो)	A song sung by women of the bride’s side on the occasion of visiting the groom’s wedding camp (baraat dera) *“Jala sain raja mailo raj bhalo Rathori re, mhari jodi ra jala…”*
Jhua/Jhui	Sung by women on the occasion of marriage Expression of a woman’s anxiety, fear, and hopes Expression of social pressures
Pawna/Jawai	On the arrival of the son-in-law at his in-laws’ house Women sing while serving food, expressing hospitality and respect
Bindola	A song sung before marriage while inviting the groom to relatives’ houses and during his return.
Kankan Dora	Song sung while untying the kankan (sacred thread) *“Tane doodh dahi se palyo le laada, doro nahin khule”*
Dupatta Geet	A song sung by the groom’s sisters-in-law (sālīs) at the time of marriage It uses humour and a playful, teasing tone
Chinthno /Sithano	Abusive (Gali) songs sung during marriage ceremonieS Predominantly humorous and satirical A means of easing social tension *“Dinesh ji biyai tan phato bandaun, tan bandba ki sodi kon r r”*
Olyu/Koyal/Cuckoo	A song sung in remembrance (at the time of farewell) For example, sung by the women of the household at the time of a daughter’s departure Expression of separation (viraha) through the call of the koel (cuckoo) “Kanwar Bai ri olyun aavai o raj…”

Folk songs related to death, grief, and separation

Folk Song	Key Points
Bichudoo	Hadoti region, On the deathbed, a woman advises her husband to remarry Pathos (Karuna Rasa)
Supno/Dreams	By a wife in separation from her husband Emotions are expressed through dreams
Hichki	Mewat region When a woman in separation (virahani) gets hiccups, she sings a song believing that her husband is remembering her “Mhara piyaji bulai mhane avai hichki.”
Jorawa /Jovna	Jaisalmer region Remembrance of the beloved, separation (viraha)

Folk songs associated with the worship of religious and folk deities

Folk Song	Key Points
Teja	Worship of folk deity Tejaji Sense of hope and strength
Languria	Kaila Devi (Karauli) Devotional and enthusiastic songs
Haveli	Associated with the Vaishnava tradition Sung in temples / havelis as they called in vaishnava traditions
Harjas	Associated with the Vaishnava tradition Sung in temples / havelis as they called in vaishnava traditions
Pabu ji ke pavde	Heroic ballad Sung by the Dhadhi community
Ramdev ji ke geet	Communal harmony Devotion and folk faith
Bhairuji / Jhunjharji / Harbuji / Sati Mata	Folk faith–based songs Protection, sacrifice, and belief

Festival-related Folk Songs

Folk Song	Key Points
Heed	Related to festival of DIWALI
Rasiya / Dhamal	Holi festival Joy and humour
Gangaur	Women worship festival Marital bliss and adornment (Shringara) “Khelan dyo Gangaur, bhanwar mhane khelan dyo Gangaur.”
Teej	Shravan month Women’s emotions and love

Season / Weather-related Folk Songs

Folk Song	Key Points
Syalo / Siyalo	WINTER SEASON
Peepli	Peepli – Peepal tree Monsoon season, Marwar & Shekhawati regions Sung by a wife in remembrance of her husband
Unalo	Summer SEASON
Somaso/Chaumasa	Winter Season
Savan	Shravan month Love and separation (viraha)
Kajli	Monsoon season Extremely popular among the folk

Other Major Folk Songs

Folk Song	Key Points
Ghoomar	This song is sung on the occasions of Gangaur, Teej, and weddings “Mhari Ghoomar chhai nakhrali ai may, Ghoomar ramba mha jasya…”
Kesariya Balam	State song of Rajasthan Singing style – Maand The ancient name of Jaisalmer was “Maand”; therefore, this singing style came to be known as Maand Through this song, a wife invites her husband to return from a distant land This song is regarded as a symbol of Rajasthan’s cultural identity and tradition of hospitality *“Kesariya Balam aao ni, padharo mhare des* *Mhāri dharti soni, mhāro des rangilo”*
Kurja	Kurjan is a migratory (foreign) bird In folk songs, Kurjan is portrayed as a messenger In this song, a wife conveys her message to her husband through the Kurjan bird This song expresses separation (viraha), waiting, and feminine sensitivity “Kurjan tu udi ja mhare peev ro des, Mhāri olyun lai ja, kah desan sanes.”
Kaga	A Shringara Rasa song related to separation In this, a woman in separation addresses a crow, taking it as an auspicious sign of her beloved’s arrival, and says: *“Ud-ud re mhara kala re kagla, jad mhara pivji ghar avai.”*
Sauvatiya/ Suva GEET	The word ‘Suva’ means parrot This song is sung especially by Bhil women In this song, a message is sent to the husband through the parrot The song reflects a natural, simple, and emotional expression of tribal life Example lines – *“Suva re suva, mhāri bāt lai jā,* *Peev nai kahjo, olyū̃ satajā.”*
HAMSIDHO	This is a famous duet folk song of the Bhils of Mewar (Udaipur–Rajsamand) Sung by both men and women during the Shravan or Phalgun months
MORIYO/MORIYA	The Moriya song is sung by a young woman whose engagement has taken place but marriage has not yet occurred The song expresses the mental state and waiting caused by delay in marriage It reflects both eagerness and separation (viraha) “Moriya re, kab aave mharo sajan, Sagāī ho gaī, byāh ko din dūr.”“Moriya āchyo bolyo re dhalti rat ne …”
KANGSIYO	Kangasiya – the literal meaning is comb It contains a poignant depiction of separation, love, waiting, and small moments of everyday life “Mhāre chhail bhanwar ro kangasiyo, pīnhāriyā̃ le gaī̃ re…”
BADHAAWA/BADHAVA	Badhava songs are sung on the completion of any auspicious occasion These songs are popular on occasions such as birth, marriage, and house-warming (griha pravesh) The song expresses auspicious feelings, joy, and collective happiness “Badhava gao sakhi, aaj anand bhaari, Ghar-ghar baaje badhai.”
KAMAN	Kaman songs are sung to protect the groom from the evil eye and witchcraft According to folk belief, this song is regarded as a protective shield It is an important folk song associated with the marriage ritual “Kaman bandho re sakhi, dulha rakho raaj, Kajal tiko dejo, laage na kaaj.”
SEETHANE	Seethane are humorous and satirical songs sung during marriage ceremonies These songs are sung collectively by women They contain light-hearted taunts and mild abuses directed at the samdhi (in-law) and his relatives Their purpose is entertainment and social bonding “Seethane bolan saajanya, hans-hans gaal, Samdhi ri naak badi, samdhan ri chaal.”
PAVNA	Pavna songs are sung on the arrival of the son-in-law at his in-laws’ house This song is a symbol of welcome, respect, and warmth Example lines – “Pavna aaya re, ghar aangan ujiyara, Laaj rakhjo jijaji, mharo maan badhaya.”
Koyal/Olyu	The Koyal song is also called Olyun This song is sung at the time of a daughter’s farewell It is dominated by pathos, maternal emotion, and separation (viraha) Example lines – “Olyun aave saajan ri, nainaan bhar aaya, Beti vida hui, aangan soona bhaaya.”
Bichodo/ Bicchudo	Bichhudo is a major folk song of the Hadoti region This song is based on Karuna Rasa (pathos) In this song, a woman suffering from a scorpion sting advises her husband to remarry Example lines – “Bichhudo kaatyo re, peev tu byaah kar le, Mhā̃ to chali sansaar, tu ghar basā le.”
Hichki	Hichki is a folk song of the Mewat region This song is sung in remembrance of a beloved and in separation (viraha) It expresses emotional memory and inner pain
Papeyo / Papeyya	In this song, the beloved requests her lover to come and meet her in the garden This song is indicative of the ideal of conjugal love
Indoni	A folk song sung by women while going to fetch water from the well
Children’s Play Songs	The ragas of these songs are simple, but they have a strong sense of rhythm and playfulness Major examples – “Kaan katarni, kaan katarni, chhabbak chhaiya chhabbak chhaiya, bol mera bhaiya” “Tampo ghodi phool gulaab ro” “Kaakad vel mateera paakya, teendasiyaan ka tora laagya, rajaji rajaji kholo kunwaad” “Machhli machhli kitno paani? Haan miyaji itno paani” “Mhāra mehlan paachhe kaun hai?” Special facts – Children’s play songs are generally in dialogue form and question–answer format They reflect simple rhyme, folk dialect, humour, and playfulness These songs also serve as a means of socialization and connecting children with cultural traditions

Wedding songs – Jala, Ghodi, Kanwar Kaleva, Jimanwar, Chakbat, Toran, Mayra, Haldi, Jua-Jui
Seasonal songs – Sawan, Phagan, Cheti, Kajli, Chaumasa, Bijan, Sayalon, Barahmasa, Badli, Mor
Diwali songs – Heed, Lovdi, Harni, Ghadliyo

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