Wednesday, 2 July 2025

Kalpana Patowary performing at the inauguration of Namo Ghat in Varanasi organized by Uttar Pradesh Tourism.

 

Kalpana Patowary’s performance energized the inauguration of a transformative cultural landmark that fuses faith, art, and sustainability—enhancing the spiritual and scenic experience of Varanasi’s famed riverfront.

Highlights of the Event

  • Occasion: The grand inauguration coincided with Dev Deepawali on Kartik Purnima, marked by over 1.7 million earthen lamps illuminating the 84 ghats of Varanasi 

  • Chief Guests: The ceremony was led by Vice President Jagdeep Dhankhar and attended by CM Yogi Adityanath, UP Governor Anandiben Patel, and Union Minister Hardeep Puri 

  • Cultural Program: Kalpana Patowary’s performance was part of a lineup that included classical dance and ceremonies featuring Vishwanath corridor themes and cosmic Shiva motifs .


Kalpana Patowary Shines at Sourendro–Soumyojit's World Music Day Concert 2025 at Science City Auditorium, Sharing the Stage with Legends

Renowned folk and playback singer Kalpana Patowary delivered a powerful performance at Sourendro–Soumyojit's World Music Day Concert 2025, held at the iconic Science City Auditorium, Kolkata. The grand celebration of music brought together a galaxy of musical stars, featuring Raghu Dixit, Papon, Hariharan, Shankar Mahadevan, Ustad Shahid Parvez, Sweta Menon, Anwesshaa, Somlata, Sukhwinder Singh, Shilpa Rao, Javed Ali, Pratibha Singh Baghel, Sid Sriram, Rekha Bhardwaj, and Malini Awasthi—making it one of the most memorable musical gatherings of the year.




Thursday, 19 June 2025

Ron Cha’s New EP Maati Is a Seamless Blend of Assamese Folk and Jazz Music - a musical collaboration with folk singer Kalpana Patowary

 


Maati
Kalpana Patowary and Assamese pianist-composer Ron Cha (Ronojit Chaliha) have collaborated on his jazz-folk fusion project Maati, bringing rich Assamese folk into a global jazz context.
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ЁЯО╢ Notable Collaborations
“Lost”
A standout single from Maati, featuring Kalpana’s evocative Assamese folk vocals alongside Ron Cha’s piano, with contributions from Nadhaswaram (Mylai Karthikeyan), bass (Alexander T├│th), and jazz drums (Ferenc Nemeth)
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“Bihu Blues”
A vibrant reinterpretation of the traditional Bihu melody, again spotlighting Kalpana’s vocals with Ron Cha’s arrangements, supported by saxophone from Jacques Schwarz‑Bart, bass, and drums.
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“Awakening”
Another folk‑jazz fusion track from Maati, featuring Kalpana and Ron Cha in a harmonious blend .
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Project Highlights: Maati EP (2022)
Seamless fusion: The EP integrates Assamese folk melodies with jazz improvisation and international jazz musicians, creating an authentic and organic hybrid
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Cultural immersion: Ron Cha described the project as a tribute to his roots during the pandemic, with Kalpana contributing deep folk knowledge.
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Critical praise: Rolling Stone India praised Maati for letting “traditional roots… coexist” with jazz, noting the “beautiful rendered” vocals by Kalpana and Biren Deuri.
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Why It Matters
This collaboration marks a rare jazz–folk fusion spotlighting Assam's musical heritage.
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Kalpana’s folk authenticity and Ron Cha’s jazz sensitivity complement each other, offering global audiences a fresh take on regional music.
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The project bridges cultural, geographic, and generational gaps, with musicians from Europe (Ferenc Nemeth, Lionel Loueke, Jacques Schwarz‑Bart), the USA, Chennai, and Assam joining forces.

World Rhythms: A Global Journey: https://bit.ly/3ZzxFoX (Spotify)





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Thursday, 12 June 2025

Kalpana Patowary - The Voice Behind Two Iconic Tourism Anthems

 

Kalpana Patowary is the voice behind the two iconic tourism anthems—Madhya Pradesh’s 2023 campaign “Jo Aaya, So Wapas Aaya – Yeh MP Ki Maya” and Assam Tourism’s “Experience Awesome Assam” 2017.


  • In 2017, the Assam Tourism Development Corporation (ATDC) launched a landmark promotional campaign titled “Experience Awesome Assam” aimed at positioning Assam as a must-visit global destination. The tagline “Once You Visit Assam, It Stays With You Forever” captured the emotional resonance and unforgettable charm of the state’s cultural and natural riches.

    Priyanka Chopra – The Global Face Bollywood icon and global star Priyanka Chopra was chosen as the brand ambassador. Her presence gave the campaign a worldwide appeal. Through the visuals, she beautifully brought alive Assam’s soul — from lush green tea gardens, mighty Brahmaputra, vibrant festivals, rich wildlife, to the warmth of its people. “O Mur Apunar Desh” – A Soulful Anthem At the heart of this campaign was the timeless Assamese anthem “O Mur Apunar Desh” penned by Lakshminath Bezbaruah, often regarded as the father of modern Assamese literature. This patriotic song, deeply rooted in the Assamese consciousness, was reimagined with a stirring contemporary arrangement. Music Direction was led by acclaimed composer Dhruv Ghanekar, who infused the anthem with cinematic depth while retaining its authenticity. The backing vocals in the advertisement were entirely rendered by Kalpana Patowary, a celebrated folk icon from Assam. Her voice added emotional depth, cultural purity, and folk resonance to the track, enhancing the soul of the anthem. Kalpana’s powerful and evocative vocal layering brought a uniquely ethnic and heartfelt texture to the music, anchoring the modern visuals with Assamese folk sensibility.
    This campaign was not just an advertisement; it was an artistic tribute to Assam’s identity, blending heritage with modern storytelling, and celebrating its enduring spirit through music and voice.


  • Kalpana Patowary is the voice behind the iconic tourism anthem for Madhya Pradesh’s 2023 campaign—“Jo Aaya, So Wapas Aaya – Yeh MP Ki Maya.” Set to music by the brilliant Dhruv Ghanekar, this anthem captures the soul-stirring magic of Madhya Pradesh—its culture, heritage, and spiritual pull. Kalpana's voice, had the privilege of bringing to life the unseen, the mystical, and the magnetic charm of this heartland state. It’s more than a song; it’s an invitation—and a promise—that once you experience MP, you’ll be drawn back to it, again and again.



Sunday, 8 June 2025

рдкрд░िрдЪрдп – Kalpana Patowary



рдоैं, рдХрд▓्рдкрдиा рдкрдЯोрд╡ाрд░ी, рдЕрд╕рдо рдХे рдмाрд░рдкेрдЯा рдоें рдЬрди्рдоी, рд▓ोрдХрдЧाрдпрдХ рд╕्рд╡рд░्рдЧीрдп рдмिрдкिрди рдкрдЯोрд╡ाрд░ी рдФрд░ рд╢्рд░ीрдорддी рдЬрдпрдорддी рдкрдЯोрд╡ाрд░ी рдХी рдкुрдд्рд░ी рд╣ूं। рдоैंрдиे рдЕрдкрдиे рдкिрддा рд╕े рд╣ी рд╕ंрдЧीрдд рдХी рдк्рд░ाрд░ंрднिрдХ рд╢िрдХ्рд╖ा рд▓ी рдФрд░ рдХेрд╡рд▓ 4 рд╡рд░्рд╖ рдХी рдЙрдо्рд░ рдоें рдЙрдирдХे рд╕ाрде рд╕ाрд░्рд╡рдЬрдиिрдХ рдоंрдЪों рдкрд░ рдк्рд░рд╕्рддुрддि рджेрдиा рд╢ुрд░ू рдХрд░ рджिрдпा। рдоैंрдиे рдЧुрд╡ाрд╣ाрдЯी рдХे рдХॉрдЯрди рдХॉрд▓ेрдЬ рд╕े рдЕंрдЧ्рд░ेрдЬी рд╕ाрд╣िрдд्рдп рдоें рд╕्рдиाрддрдХ рдХी рдбिрдЧ्рд░ी рдк्рд░ाрдк्рдд рдХी рдФрд░ рд▓рдЦрдирдК рдХे рднाрддрдЦंрдбे рдорд╣ाрд╡िрдж्рдпाрд▓рдп рд╕े рд╣िंрджुрд╕्рддाрдиी рд╢ाрд╕्рдд्рд░ीрдп рд╕ंрдЧीрдд рдоें ‘рд╕ंрдЧीрдд рд╡िрд╢ाрд░рдж’ рдХी рдЙрдкाрдзि рдк्рд░ाрдк्рдд рдХी।

рдмाрдж рдоें рдоैं рдоुंрдмрдИ рдЖ рдЧрдИ рдФрд░ рднाрд░рддрд░рдд्рди рдЙрд╕्рддाрдж рдЧ़ुрд▓ाрдо рдоुрд╕्рддрдл़ा рдЦ़ाрди рд╕ाрд╣рдм рд╕े рд╢ाрд╕्рдд्рд░ीрдп рдЧाрдпрди рдоें рдк्рд░рд╢िрдХ्рд╖рдг рдк्рд░ाрдк्рдд рдХрд░ рдЙрд╕рдоें рдорд╣ाрд░рдд рд╣ाрд╕िрд▓ рдХी। рдоैंрдиे рдСрд▓ рдЗंрдбिрдпा рд░ेрдбिрдпो рдФрд░ рджूрд░рджрд░्рд╢рди рдХे рд▓िрдП рд░िрдХॉрд░्рдбिंрдЧ рдХी। рдоैं рд╕рдоाрдЬ рд╕ुрдзाрд░рдХ рд▓ोрдХ рдХрд▓ाрдХाрд░ рднिрдЦाрд░ी рдаाрдХुрд░ рдХी рд▓ोрдХ рд╡िрдзा рдХे рд╕ंрд░рдХ्рд╖рдг рдХे рд▓िрдП рд╕рдорд░्рдкिрдд рд╣ूं, рдЬो рдмिрд╣ाрд░ рдХी рд╕ांрд╕्рдХृрддिрдХ рд╡िрд░ाрд╕рдд рдоें рдЧрд╣рд░ाрдИ рд╕े рд░рдЪी-рдмрд╕ी рд╣ै।

рдоेрд░े рдЕंрддрд░рд░ाрд╖्рдЯ्рд░ीрдп рд╕рд╣рдпोрдЧी рдПрд▓्рдмрдо Voyage 2 рдХो 67рд╡ें рдЧ्рд░ैрдоी рдЕрд╡ॉрд░्рдб्рд╕ рдоें Global Music Performance рд╢्рд░ेрдгी рдоें рд╡िрдЪाрд░ рд╣ेрддु рдк्рд░рд╕्рддुрдд рдХिрдпा рдЧрдпा рдеा। рдоैंрдиे 30 рднाрд░рддीрдп рднाрд╖ाрдУं рдФрд░ рдмोрд▓िрдпों рдоें 16,000 рд╕े рдЕрдзिрдХ рдЧीрдд рдЧाрдП рд╣ैं, рдЬिрд╕рд╕े рднाрд░рдд рдХी рднाрд╖ाрдпी рд╡िрд░ाрд╕рдд рдХो рд╕ंрд░рдХ्рд╖िрдд рдХिрдпा рд╣ै।

рдоेрд░े рдХाрд░्рдпों рдоें рдбिрдУрд░ी, рдмोрдбो рдФрд░ рдм्рд░рдЬाрд╡рд▓ी рдЬैрд╕ी рд▓ुрдк्рдд рд╣ोрддी рднाрд╖ाрдУं рдХा рдкुрдирд░्рдЬीрд╡рди рдоेрд░ा рд╕рдорд░्рдкрдг рджрд░्рд╢ाрддा рд╣ै, рдЬो рднाрд░рдд рдХी рднाрд╖ाрдпी рд╡िрд╡िрдзрддा рдХो рдЙрдЬाрдЧрд░ рдХрд░рддा рд╣ै। рдоैं рдкрд╣рд▓ी рдорд╣िрд▓ा рд╣ूं рдЬिрд╕рдиे рдЫрдкрд░ा рд╣ीрдпा рдкूрд░्рд╡ी рдЬैрд╕े рдкाрд░ंрдкрд░िрдХ рд▓ोрдХ рд╢ैрд▓ी, рдЬिрд╕े рдкрд╣рд▓े рдХेрд╡рд▓ рдкुрд░ुрд╖ рдЧाрдпрдХ рдк्рд░рд╕्рддुрдд рдХрд░рддे рдеे, рдХो рдоंрдЪ рдкрд░ рдк्рд░рд╕्рддुрдд рдХिрдпा рдФрд░ рдк्рд░рд▓ेрдЦिрдд рднी рдХिрдпा।

рдоैंрдиे рдк्рд░рддिрд╖्рдаिрдд рдоंрдЪ MTV рдХोрдХ рд╕्рдЯूрдбिрдпो рдкрд░ рдЦाрджी рдмिрд░рд╣ा рдк्рд░рд╕्рддुрдд рдХिрдпा। рдоुрдЭे ICCR (рднाрд░рддीрдп рд╕ांрд╕्рдХृрддिрдХ рд╕ंрдмंрдз рдкрд░िрд╖рдж) рдж्рд╡ाрд░ा рдЧрдпाрдиा, рдд्рд░िрдиिрджाрдж рдФрд░ рд╕ुрд░िрдиाрдо рдЖрдоंрдд्рд░िрдд рдХिрдпा рдЧрдпा। рдоैंрдиे рдмॉрд▓ीрд╡ुрдб рдлिрд▓्рдоों рд╡ेрд▓рдХрдо, рдЖрд░... рд░ाрдЬрдХुрдоाрд░ рдФрд░ рд╡िрдж्рдпा рдмाрд▓рди рдХी рдмेрдЧрдо рдЬाрди (рдЬिрд╕рдоें рд╕ंрдЧीрдд рдЕрдиु рдорд▓िрдХ рдиे рджिрдпा рдеा) рдоें рдкाрд░्рд╢्рд╡рдЧाрдпрди рдХिрдпा।

рдЗрд╕ рдорд╣ाрдХुंрдн рдоें рдоैंрдиे рдк्рд░рд╕िрдж्рдз рд╕ंрдЧीрддрдХाрд░ рд▓ुрдИрдЬ़ рдмैंрдХ्рд╕ рдХे рд╕ाрде рдоिрд▓рдХрд░ рдЧंрдЧाрд╕्рдиाрди рдЧीрдд рдЬाрд░ी рдХिрдпा। рд╕ाрде рд╣ी, рдоैंрдиे рдорд╣ाрдд्рдоा рдЧांрдзी рдХे ‘рдЪंрдкाрд░рдг рд╕рдд्рдпाрдЧ्рд░рд╣’ рдкрд░ рднी рдХाрд░्рдп рдХिрдпा рд╣ै।

 рд╕्рдкрд╖्рдЯीрдХрд░рдг

рдоैं рд╡िрдирдо्рд░рддा рдкूрд░्рд╡рдХ рдХрд╣рдиा рдЪाрд╣рддी рд╣ूँ рдХि рдоैं рднाрд░рдд рдХी рдЙрди рдЧिрдиे-рдЪुрдиे рдЧाрдпिрдХाрдУं рдоें рд╕े рд╣ूँ рдЬिрди्рд╣ोंрдиे 30 рднाрд░рддीрдп рдмोрд▓िрдпों рдоें рдЕрдкрдиी рдЖрд╡ाрдЬ़ рджी рд╣ै। рджेрдУрд░ी, рдмोрдбो рдФрд░ рдоिрд╢िंрдЧ рдЬैрд╕ी рдмोрд▓िрдпाँ, рдЬिрди्рд╣ें рдпूрдиेрд╕्рдХो рдж्рд╡ाрд░ा рд╕ंрдХрдЯрдЧ्рд░рд╕्рдд рдШोрд╖िрдд рдХिрдпा рдЧрдпा рд╣ै, рдЙрди рдкрд░ рднी рдоैंрдиे рдХाрд░्рдп рдХिрдпा рд╣ै। рдоेрд░े рдХुрдЫ рдк्рд░ोрдЬेрдХ्рдЯ्рд╕ рдЬैрд╕े рджेрдУрд░ी рдоें 'рдЬिрдоोрдЫाрдпा' рдФрд░ рдмोрдбो рдоें 'рдмाрдЯौ рдЧीрдд' рдХे рдоाрдз्рдпрдо рд╕े рдоैं рдЗрди рднाрд╖ाрдУं рдХो рдбिрдЬिрдЯрд▓ рд░ूрдк рд╕े рд╕ंрд░рдХ्рд╖िрдд рдФрд░ рдк्рд░рдЪाрд░िрдд рдХрд░ рд░рд╣ी рд╣ूँ рддाрдХि рдЖрдиे рд╡ाрд▓ी рдкीрдв़िрдпाँ рдЗрди्рд╣ें рдЬाрди рд╕рдХें।

рдоैंрдиे рднोрдЬрдкुрд░ी рд▓ोрдХ рд╕ंрдЧीрдд рдХो рд╕ंрд░рдХ्рд╖िрдд рдФрд░ рдмрдв़ाрд╡ा рджेрдиे рдоें рднी рдорд╣рдд्рд╡рдкूрд░्рдг рдпोрдЧрджाрди рджिрдпा рд╣ै, рдЬो рднाрд░рдд рдХी рдЕрдоूрд░्рдд рд╕ांрд╕्рдХृрддिрдХ рд╡िрд░ाрд╕рдд рдХा рдПрдХ рдорд╣рдд्рд╡рдкूрд░्рдг рд╣िрд╕्рд╕ा рд╣ै। рднिрдЦाрд░ी рдаाрдХुрд░ — рдЬिрди्рд╣ें рднोрдЬрдкुрд░ी рдХा рд╢ेрдХ्рд╕рдкीрдпрд░ рдХрд╣ा рдЬाрддा рд╣ै — рдХो рд╕рдорд░्рдкिрдд рдоेрд░े рд╢्рд░рдж्рдзांрдЬрд▓ि рдХाрд░्рдпрдХ्рд░рдо рдкाрд░ंрдкрд░िрдХ рдХрд▓ाрдУं рдХे рдк्рд░рддि рдоेрд░ी рдк्рд░рддिрдмрдж्рдзрддा рдХो рджрд░्рд╢ाрддे рд╣ैं।

рдоैंрдиे рднोрдЬрдкुрд░ी, рдЕрд╕рдоिрдпा рдФрд░ рдмॉрд▓ीрд╡ुрдб рдкाрд░्рд╢्рд╡рдЧाрдпрди рдЬैрд╕ी рдЕрдиेрдХ рд╕ंрдЧीрдд рд╢ैрд▓िрдпों рдоें рджрдХ्рд╖рддा рдк्рд░ाрдк्рдд рдХी рд╣ै, рдЬो рдоेрд░ी рдкेрд╢ेрд╡рд░ рдЙрдд्рдХृрд╖्рдЯрддा рдХा рдк्рд░рдоाрдг рд╣ै। рдоेрд░ी рдпрд╣ рдХ्рд╖рдорддा рдХि рдоैं рдХ्рд╖ेрдд्рд░ीрдп рд▓ोрдХ рд╕ंрдЧीрдд рдХो рдЖрдзुрдиिрдХ рд╕ंрдЧीрдд рд╕े рдЬोрдб़ рд╕рдХूं, рджрд░्рд╢рдХों рдХो рдЖрдХрд░्рд╖िрдд рдХрд░рддी рд╣ै рдФрд░ рднाрд░рддीрдп рдк्рд░рджрд░्рд╢рди рдХрд▓ाрдУं рдХे рджाрдпрд░े рдХो рдмрдв़ाрддी рд╣ै।

2018 рдоें рдСрд╕्рдЯ्рд░ेрд▓िрдпा рдХे рдХ्рд╡ींрд╕рд▓ैंрдб рдоें рдХॉрдордирд╡ेрд▓्рде рдЧेрдо्рд╕ рдХे рд╕рдоाрдкрди рд╕рдоाрд░ोрд╣, рдПрдордЯीрд╡ी рдХोрдХ рд╕्рдЯूрдбिрдпो, рдФрд░ рдоुंрдмрдИ рдХे рдкैрдбी рдлीрд▓्рдб्рд╕ рдо्рдпूрдЬिрдХ рдлेрд╕्рдЯिрд╡рд▓ рдоें рдоेрд░े рдк्рд░рджрд░्рд╢рди рдоेрд░े рдж्рд╡ाрд░ा рднोрдЬрдкुрд░ी рд╕ांрд╕्рдХृрддिрдХ рдкрд╣рдЪाрди рдХो рдордиाрдиे рдФрд░ рдмрдиाрдП рд░рдЦрдиे рдХी рднूрдоिрдХा рдХो рдЙрдЬाрдЧрд░ рдХрд░рддे рд╣ैं।
1982 рд╕े рдЕрдм рддрдХ рдоेрд░े рдк्рд░рджрд░्рд╢рди рдХрд▓ा рдХे рдк्рд░рддि рдиिрд░ंрддрд░ рд╕рдорд░्рдкрдг рдХे 43 рд╡рд░्рд╖ों рдХी рд▓ंрдмी рдпाрдд्рд░ा, рдоेрд░े рдЙрдЪ्рдЪ рд╕्рддрд░ीрдп рдкेрд╢ेрд╡рд░ рдпोрдЧрджाрди рдХो рд╕рдо्рдоाрдиिрдд рдХрд░рддी рд╣ै। рдоैं рд▓ोрдХ рд╕ंрдЧीрдд — рдЪाрд╣े рд╡рд╣ рднोрдЬрдкुрд░ी рд╣ो рдпा рдЕрд╕рдо рдХे рдЬрдирдЬाрддीрдп рд▓ोрдХ рд░ूрдк рд╣ों — рдХे рд▓िрдП рдЖрд╡ाрдЬ़ рдЙрдаाрддी рд╣ूँ, рдЬो рдоुрдЦ्рдпрдзाрд░ा рдпा рд╢ाрд╕्рдд्рд░ीрдп рд╢ैрд▓िрдпों рдХी рддुрд▓рдиा рдоें рдЕрдХ्рд╕рд░ рдЙрдкेрдХ्рд╖िрдд рд░рд╣рддे рд╣ैं। рдпрд╣ рдмाрдд рдоेрд░े рдж्рд╡ाрд░ा рд╣ाрд╢िрдП рдкрд░ рдкрдб़े рдХрд▓ा рд░ूрдкों рдХो рдКँрдЪा рд╕्рдеाрди рджिрд▓ाрдиे рдХी рдк्рд░рддिрдмрдж्рдзрддा рдХो рджрд░्рд╢ाрддी рд╣ै।
 рдЬाрдирдХाрд░ी

рдоेрд░े рдЕंрддрд░рд░ाрд╖्рдЯ्рд░ीрдп рдк्рд░рднाрд╡ рдХा рдк्рд░рдоाрдг рдпрд╣ рд╣ै рдХि рд╕्рдЯैрдирдлोрд░्рдб рдпूрдиिрд╡рд░्рд╕िрдЯी, рдХैрд▓िрдлोрд░्рдиिрдпा рдиे рдоेрд░े рднिрдЦाрд░ी рдаाрдХुрд░ рдкрд░ рдХिрдП рдЧрдП рдХाрд░्рдп рдХी рд╕рдоीрдХ्рд╖ा рдХे рд▓िрдП 25 рдЫाрдд्рд░ों рдХो рдоुंрдмрдИ рднेрдЬा।

рдоेрд░ी рдПрдХ рдЙрд▓्рд▓ेрдЦрдиीрдп рдЙрдкрд▓рдм्рдзि рд╡рд░्рд╖ 2015 рдоें рд╡ाрд░ाрдгрд╕ी рдоें рднाрд░рдд рдХे рдк्рд░рдзाрдирдоंрдд्рд░ी рд╢्рд░ी рдирд░ेंрдж्рд░ рдоोрджी рдФрд░ рдЬाрдкाрди рдХे рдк्рд░рдзाрдирдоंрдд्рд░ी рд╢िंрдЬो рдЖрдмे рдХे рдмीрдЪ рд╣ुрдП рднोрдЬ рдоें рдЧंрдЧाрд╕्рдиाрди — рдЧंрдЧा рдирджी рдкрд░ рдЖрдзाрд░िрдд рдПрдХ рд╕ंрдЧीрддрдордп рдк्рд░рд╕्рддुрддि — рджेрдиा рд░рд╣ी।

рд╕ूрд░ीрдиाрдо рдХे рдПрдХ рд╕рдоाрдЪाрд░ рдкрдд्рд░ рдиे рд╡рд░्рд╖ 2014 рдоें рдоुрдЭे "рднोрдЬрдкुрд░ी рд╡ंрдбрд░рдХिंрдб" рдХрд╣ा рдФрд░ рдЕрдкрдиे рдоुрдЦрдкृрд╖्рда рдкрд░ рдк्рд░рдоुрдЦрддा рд╕े рдк्рд░рдХाрд╢िрдд рдХिрдпा।
рдоुрдЭे рдХрдИ рдЕंрддрд░рд░ाрд╖्рдЯ्рд░ीрдп рдФрд░ рд░ाрд╖्рдЯ्рд░ीрдп рдкुрд░рд╕्рдХाрд░ों рд╕े рд╕рдо्рдоाрдиिрдд рдХिрдпा рдЧрдпा рд╣ै:
2018 рдоें рдорд▓ेрд╢िрдпा рдоें рд╣ुрдП рдЗंрдЯрд░рдиेрд╢рдирд▓ рднोрдЬрдкुрд░ी рдлिрд▓्рдо рдЕрд╡ॉрд░्рдб्рд╕ рдоें рд╕рд░्рд╡рд╢्рд░ेрд╖्рда рднोрдЬрдкुрд░ी рдорд╣िрд▓ा рдкाрд░्рд╢्рд╡ рдЧाрдпिрдХा рдХा рдкुрд░рд╕्рдХाрд░
2016 рдоें рдЖрдИрдмीрдПрдлрдП рджुрдмрдИ, рдпूрдПрдИ, 2015 рдоें рдЖрдИрдмीрдПрдлрдП рдоॉрд░िрд╢рд╕
2018 рдоें рднोрдЬрдкुрд░ी рд╕िрдиे рдЕрд╡ॉрд░्рдб्рд╕, рдХोрд▓рдХाрддा
2007 рдоें рдоुंрдмрдИ, 2013 рдоें рд▓рдЦрдирдК, 2014 рдоें рдоुंрдмрдИ рдоें рд╕рд░्рд╡рд╢्рд░ेрд╖्рда рднोрдЬрдкुрд░ी рдкाрд░्рд╢्рд╡ рдЧाрдпिрдХा рдХा рдкुрд░рд╕्рдХाрд░
2019 рдоें рднिрдЦाрд░ी рдаाрдХुрд░ рдХी рд▓ोрдХрд╢ैрд▓ी рдХो рд░ाрд╖्рдЯ्рд░ीрдп рдФрд░ рдЕंрддрд░рд░ाрд╖्рдЯ्рд░ीрдп рдоंрдЪों рддрдХ рдкрд╣ुँрдЪाрдиे рдХे рд▓िрдП рд╡िрд╢ेрд╖ рд╕рдо्рдоाрди

2017 рдоें рдоुрдЭे рднाрд░рдд рд░рдд्рди рдЕंрдмेрдбрдХрд░ рдЕрд╡ॉрд░्рдб рд╕े рд╕рдо्рдоाрдиिрдд рдХिрдпा рдЧрдпा, рдпрд╣ рд╕рдо्рдоाрди рд╕ाрдоाрдЬिрдХ рди्рдпाрдп рдФрд░ рдЕрдзिрдХाрд░िрддा рд░ाрдЬ्рдп рдоंрдд्рд░ी рд╢्рд░ी рд░ाрдорджाрд╕ рдЕрдаाрд╡рд▓े рдиे рдирдИ рджिрд▓्рд▓ी рдоें 20 рдоाрдирдиीрдп рд╕ांрд╕рджों рдХी рдЙрдкрд╕्рдеिрддि рдоें рдк्рд░рджाрди рдХिрдпा।

2012 рдоें рдЭाрд░рдЦंрдб рдХे рд░ाрдЬ्рдпрдкाрд▓ рд╕рдп्рдпрдж рдЕрд╣рдордж рдж्рд╡ाрд░ा рд░ांрдЪी рдоें рд╕рдо्рдоाрдиिрдд рдХिрдпा рдЧрдпा, рдФрд░ 2007 рдоें рдЭाрд░рдЦंрдб рдХे рдоुрдЦ्рдпрдоंрдд्рд░ी рдЕрд░्рдЬुрди рдоुंрдбा рдж्рд╡ाрд░ा рдЬрдорд╢ेрджрдкुрд░ рдоें рд╕рдо्рдоाрдиिрдд рдХिрдпा рдЧрдпा।






 



Saturday, 7 June 2025

Artists known for Multilingual singing ЁЯЗоЁЯЗ│

 


A true indication of their versatility and global appeal is the fact that many multilingual singers adjust not only their lyrics but also their style and pronunciation according to the cultural subtleties of the language.Folk singer Kalpana Patowary has made a name for herself by bringing new life to age-old folk traditions from all over the world.


Other languages: English, Bengali, Bhojpuri, Assamese, Hindi, and Maithili.

Sunday, 1 June 2025

рдХрд▓्рдкрдиा рдкрдЯोрд╡ाрд░ी: рдЕрд╕рдо рд╕े рд╣ोрддे рд╣ुрдП рднी рднोрдЬрдкुрд░ी рднाрд╖ा рдХी рд▓рдб़ाрдИ рд▓рдб़ рд░рд╣ी рд╣ैं।

The Bhojpuri Bhasha Andolan song is not just a musical composition—it is a rallying cry for the inclusion of Bhojpuri in the 8th Schedule of the Indian Constitution.

рдХрд▓्рдкрдиा рдкрдЯोрд╡ाрд░ी: рдЕрд╕рдо рд╕े рд╣ोрддे рд╣ुрдП рднी рднोрдЬрдкुрд░ी рднाрд╖ा рдХी рд▓рдб़ाрдИ рд▓рдб़ рд░рд╣ी рд╣ैं। рд╡े рдПрдХрдоाрдд्рд░ рднोрдЬрдкुрд░ी рдХрд▓ाрдХाрд░ рд╣ैं рдЬिрди्рд╣ोंрдиे рднोрдЬрдкुрд░ी рднाрд╖ा рдФрд░ рд╕ंрд╕्рдХृрддि рдХे рд╣рдХ़ рдХे рд▓िрдП рдмुрд▓ंрдж рдЖрд╡ाрдЬ़ рдЙрдаाрдИ рд╣ै। рдпрд╣ рдмाрдд рдЕрдкрдиे-рдЖрдк рдоें рдЕрдиोрдЦी рд╣ै рдХि рдЕрд╕рдоिрдпा рд╕ंрд╕्рдХृрддि рд╕े рдЖрдИं рдПрдХ рдХрд▓ाрдХाрд░, рдЙрдд्рддрд░ рднाрд░рдд рдХी рднोрдЬрдкुрд░ी рднाрд╖ा рдФрд░ рд▓ोрдХрд╕ंрдЧीрдд рдХी рдЗрддрдиी рдмрдб़ी рдк्рд░рддिрдиिрдзि рдмрди рдЧрдИ рд╣ैं।

рд╡े рди рдХेрд╡рд▓ рдПрдХ рдк्рд░рд╕िрдж्рдз рдЧाрдпिрдХा рд╣ैं, рдмрд▓्рдХि рдЙрди्рд╣ोंрдиे рд╣рдоेрд╢ा рднोрдЬрдкुрд░ी рд╕рдоाрдЬ рдХी рдЕрд╕्рдоिрддा, рдкрд╣рдЪाрди рдФрд░ рдЕрдзिрдХाрд░ों рдХी рдмाрдд рдХी рд╣ै। рдЙрдирдХी рдХрд▓ा рдоें рд╕рдоाрдЬिрдХ рдоुрдж्рджों рдХी рдЭрд▓рдХ рд╕ाрдл़ рджिрдЦाрдИ рджेрддी рд╣ै, рдФрд░ рд╡े рд╕ाрдХ्рд╖ाрдд्рдХाрд░ों рдФрд░ рдоंрдЪ рд╕े рднोрдЬрдкुрд░ी рдХी рдЖрд╡ाрдЬ़ рдХो рдордЬрдмूрддी рд╕े рдЙрдаाрддी рд░рд╣ी рд╣ैं।рдЙрди्рд╣ोंрдиे рдпрд╣ рднी рдХрд╣ा рдХि "рднोрдЬрдкुрд░ी рд╕िрд░्рдл ‘рд▓ैрд▓ा-рдордЬрдиू’ рдпा ‘рдХрдорд░ рд╣िрд▓ा рдХे’ рддрдХ рд╕ीрдоिрдд рдирд╣ीं рд╣ै, рдЗрд╕рдоें рдХрдмीрд░ рднी рд╣ैं, рддुрд▓рд╕ी рднी рд╣ैं।"

рдХрд▓्рдкрдиा рдкрдЯोрд╡ाрд░ी рдХा рднोрдЬрдкुрд░ी рднाрд╖ा рд╕े рдк्рд░ेрдо рдФрд░ рд╕рдорд░्рдкрдг рдХिрд╕ी рдк्рд░рдоाрдг рдХा рдоोрд╣рддाрдЬ рдирд╣ीं рд╣ै। рдЙрди्рд╣ोंрдиे рднोрдЬрдкुрд░ी рдХो рди рд╕िрд░्рдл рднाрд░рдд рдоें рдмрд▓्рдХि рдЕंрддрд░рд░ाрд╖्рдЯ्рд░ीрдп рд╕्рддрд░ рдкрд░ рднी рдЧौрд░рд╡ рджिрд▓ाрдпा рд╣ै। рдЙрдирдХे рдж्рд╡ाрд░ा рдЧाрдпा рдЧрдпा "рднोрдЬрдкुрд░ी рдЖंрджोрд▓рди рдЧीрдд" рдЗрд╕ рдк्рд░ेрдо рдХा рдПрдХ рдЬीрд╡ंрдд рдк्рд░рдоाрдг (рдЬीрддा-рдЬाрдЧрддा рд╕рдмूрдд) рд╣ै।

Jaan Bhojpuriye Ba Maan Bhojpuriye Ba - рдпрд╣ाँ рдПрдХ рднोрдЬрдкुрд░ी рдЖंрджोрд▓рди рдЧीрдд рд╣ै, рдЬो рдХрд▓्рдкрдиा рдкрдЯोрд╡ाрд░ी рдХे рдЕंрджाрдЬ़ рдоें рднाрд╖ा рдХे рд▓िрдП рд▓рдб़ाрдИ, рдк्рд░ेрдо рдФрд░ рдЧрд░्рд╡ рдХो рджрд░्рд╢ाрддा рд╣ै: рднोрдЬрдкुрд░ी рднाрд╖ा рдХे рд╕рдорд░्рдерди рдоें рдХрд▓्рдкрдиा рдкрдЯोрд╡ाрд░ी рдж्рд╡ाрд░ा рдЧाрдпा рдЧрдпा рдЧीрдд рдХрдо рд╕े рдХрдо рдПрдХ рдмाрд░ рдЕрд╡рд╢्рдп рд╕ुрдиे ЁЯСЙ https://youtu.be/GQzWb3TL-K4

   
       
       





Saturday, 31 May 2025

Gram Swaraj Song - Kalpana Patowary


Kalpana Patowary has performed a song titled "Gram Swaraj," which is part of a musical tribute to Mahatma Gandhi's philosophy of rural self-reliance. The track is titled "Aao Sare Charkha Chalao" and was released as part of a Gandhi Yatra series. The song emphasizes the importance of spinning the charkha (spinning wheel) as a symbol of self-sufficiency and empowerment in rural India. Kalpana Patowary's rendition brings a contemporary touch to this Gandhian ideal, blending folk elements with a modern musical arrangement.

▶ Project: Gandhi Yatra Song (3D Mapping Projection Show) Song: Aao Sare Charkha Chalao / Gandhi Yatra Song / рдЧ्рд░ाрдо рд╕्рд╡рд░ाрдЬ рд╕ोंрдЧ Vocals: Kalpana Patowary Lyrics: Swanand Kirkire Music: Dhruv Ghanekar

Friday, 30 May 2025

Kalpana Patowary's Chhath Song at the Paddy Fields Folk & Fusion Music Festival is indeed a true cultural experience. Here's why:

 

ЁЯО╢ Musical Mastery

Kalpana Patowary, known for her deep roots in Bhojpuri folk and mastery of traditional forms like Birha, Kajri, and Chaiti, brings authenticity and raw emotion to her Chhath song performance. Her voice carries the essence of Maithili and Bhojpuri culture, making listeners feel the sanctity and soul of Chhath Puja, one of the most spiritually rich festivals in eastern India.

ЁЯМЕ Chhath Puja – A Ritual in Sound

Chhath is more than a festival — it’s a devotional, sun-worshipping ritual that spans days of fasting, purity, and offerings to the setting and rising sun. Through Kalpana’s performance:

  • The ghats, soop, and arghya come alive.

  • You feel the presence of folk traditions, handed down through generations.

  • It’s as if the rituals are unfolding right on stage, transcending time and place.

ЁЯОд Live at Paddy Fields Festival

The Paddy Fields Festival is known for blending folk with contemporary music, and Kalpana’s set stands out as a pillar of cultural pride. Her song doesn’t just entertain — it educates, elevates, and celebrates.

ЁЯзб Why It Resonates

  • It's devotional, but not exclusive — everyone can feel the emotion, even without understanding the lyrics.

  • It offers a rare platform for eastern Indian folk culture on a national stage.

  • It’s a spiritual bridge between rural roots and urban audiences.


If you're exploring Indian folk traditions or simply looking for a performance that touches the soul, Kalpana Patowary's Chhath Song at Paddy Fields is unmissable.

ржХрж▓্ржкржиা ржкাржЯোрз▒াрз░ীрз░ 'ржиাржЪে ржкাржЧрж▓ী ржоা'рз░ ржоুржХ্рждি

 ржоৃржд্ржпুржоুржЦржд ржкрз░া рж▓োржХржХрж▓াржХ ржкুржирз░ুржЬ্ржЬীрз▒িржд ржХрз░ি ржмিрж▓ুржк্рждржк্рз░াржп় рж▓োржХржЧীрждржмোрз░ржХ ржПржХ рж╕ржо্ржкূрз░্ржг ржирждুржи рз░ূржкржд ржирз▒ ржк্рз░ржЬржи্ржорз░ ржЖржЧржд ржЙржкрж╕্ржеাржкржи ржХрз░াрз░ ржмাржмে ржХрж▓্ржкржиা ржкাржЯোрз▒াрз░ী ржмিрж╢েрж╖ржнাрз▒ে ржЬржиাржЬাржд। ржЙржд্рждрз░-ржкূржм ржнাрз░рждীржп় ржЕржЮ্ржЪрж▓рз░ ржЦিрж▓ржЮ্ржЬীржп়া ржЕрж╕ржоীржп়া рз░াржЗржЬে ржк্рз░ржЬржи্ржорз░ ржкিржЫржд ржк্рз░ржЬржи্ржо ржзрз░ি ржПржЗ рж╢ржоржиржоূрж▓ржХ ржУржЬাржкাрж▓ি рж▓োржХржЧীржд рж╕ржоূрж╣ ржЧাржЗ ржЖрж╣িржЫে। ржзрз░্ржоীржп় ржмিрж╢্ржмাрж╕ ржЕржиুрж╕рз░ি, ржУржЬাржкাрж▓ি ржЕрж╕ржорз░ ржЖржЯাржЗрждржХৈ ржкুрз░ржгি рж▓ৌржХিржХ ржХрж▓াрз░ ржЕржи্ржпрждржо ржмুрж▓ি ржзрз░া рж╣ржп়। рж╢ржХ্рждি ржкূржЬাржд ржоা ржоржирж╕া, ржжূрз░্ржЧা ржЖрз░ু ржХাрж▓ী ржжেрз▒ীржХ ржУржЬাржкাрж▓িрз░ে ржкূржЬা ржХрз░া рж╣ржп়। ржХাржоাржЦ্ржпা ржзাржо рж╢ржХ্рждিржкীржаржд ржк্рз░рждিржмржЫрз░ে ржЕржиুрж╖্ржаিржд ржПржХ ржмাрз░্рж╖িржХ ржЕржиুрж╖্ржаাржиржд ржжেржУржзাржиী ржиাржорз░ ржПржЯি ржиৃржд্ржпржУ ржк্рз░ржжрз░্рж╢ржи ржХрз░া рж╣ржп়, ржпি рж╕াржзাрз░ржгрждে ржУржЬাржкাрж▓িрз░ рж╕ৈрждে ржЬржб়িржд ржеাржХে। ржХрж▓ржкржиা ржкাржЯোрз▒াрз░ীрз░ "ржкাржЧрж▓ী ржоা" рж╢ীрз░্рж╖ржХ ржЧীрждржЯি ржкрз░ржо্ржкрз░াржЧржд ржУржЬাржкাрж▓ি рж╕ংржЧীрждржХ ржЖржзুржиিржХ ржЗрж▓েржХ্ржЯ্рз░ржиিржХ рж╢ৈрж▓ীрз░ рж╕ৈрждে ржоিрж▓াржЗ рждৈржп়াрз░ ржХрз░া рж╣ৈржЫে, ржп’ржд ржоূрж▓ ржЖржд্ржоাрж╕াрз░ржЯো рж╕ংрз░ржХ্рж╖ржг ржХрз░ি рз░ржЦা рж╣ৈржЫে।рж╢ржХ্рждি ржкূржЬাржд ржоা ржоржирж╕া, ржжুрз░্ржЧা, ржХাрж▓ি ржжেрз▒ীржХ ржУржЬাржкাрж▓িрз░ে ржкূржЬা ржХрз░া рж╣ржп়। ржХাржоাржЦ্ржпা ржзাржо рж╢ржХ্рждিржкীржаржд ржмাрз░্рж╖িржХ ржПржХ ржЕржиুрж╖্ржаাржиржд ржжেржУржзাржиী ржиাржорз░ рж▓োржХржиৃржд্ржп рж╕ржШржиাржЗ ржЬржб়িржд рж╣ৈ ржеাржХে।





Thursday, 8 May 2025

What role Kalpana Patowary played in reviving and preserving folk music in Bihar and India?

 

Kalpana Patowary, often referred to as the "Bhojpuri Queen," has played a significant role in reviving and preserving folk music, particularly Bhojpuri folk music, in Bihar and across India. Her contributions span performance, innovation, documentation, and global outreach, bringing traditional forms to new audiences while maintaining their authenticity. Below is a detailed overview of her role:
1. Reviving Traditional Bhojpuri Folk Forms
  • Pioneering Female Voice in Male-Dominated Genres: Patowary broke gender barriers by becoming the first woman to sing and record the Chhaprahiya Purvi style, a high-octave Bhojpuri folk form traditionally reserved for male singers. Her rendition of songs like Devra Tudi Killi introduced innovations while preserving the traditional essence, making these forms accessible to wider audiences.
  • Introducing Khadi Birha Internationally: She holds the distinction of being the first Bhojpuri singer to present the Khadi Birha tradition, a folk form rooted in working-class narratives, on international platforms such as MTV Coke Studio, NH7 Weekender, and Blue Frog, collaborating with global musicians. This helped elevate the status of Bhojpuri folk music on the world stage.
  • Focus on Diverse Folk Forms: Patowary has performed and popularized various Bhojpuri folk forms, including Purvi, Pachra, Kajri, Sohar, Vivaah Geet, Chaita, and Nautanki, ensuring these traditional songs remain relevant. Her work emphasizes the emotional and cultural depth of these forms, often tied to rural life, migration, and social issues.
2. Preserving Bhikhari Thakur’s Legacy
  • Documenting and Performing Bhikhari Thakur’s Work: Patowary has been instrumental in bringing the works of Bhikhari Thakur, known as the "Shakespeare of Bhojpuri Literature," to contemporary audiences. She released a documentary folk album, The Legacy of Bhikhari Thakur, in 2012 with EMI/Virgin Records, which was launched by the then Vice Prime Minister of Mauritius. This album musically explored Thakur’s Bidesia theater and songs, which address themes of migration and social reform.
  • Performances at Key Events: She performed Thakur’s songs at significant cultural events, such as the Bhikhari Thakur Rangmanch Shatabdi Samaroh in Chhapra (2013) and RIFF in Jodhpur, introducing his art to both local and international audiences. Her performances highlight Thakur’s socially conscious themes, ensuring his legacy resonates with younger generations.
  • Controversy and Critique: While Patowary has been praised for promoting Thakur’s work, she faced criticism from some Bhojpuri music fans and scholars who argued that Thakur’s legacy needed no revival, as it remained vibrant in Bhojpuri culture. Critics also accused her of appropriating Thakur’s legacy to enhance her own reputation. Patowary countered these claims, emphasizing her dedication to preserving and globalizing his art without claiming sole custodianship.
3. Globalizing Bhojpuri Folk Music
  • International Recognition: Patowary’s signing with Virgin EMI Records in 2012 marked a milestone, as her Bhojpuri music album on migration gained significant international demand. This brought global attention to Bhojpuri folk music, a genre previously confined to regional audiences.
  • Fusion with Modern Styles: She has blended traditional Bhojpuri folk with contemporary genres like jazz, ambient electronic, and new-age fusion, collaborating with artists like Trilok Gurtu and forming the folk-fusion band Dhruv Voyage. This approach has made folk music appealing to urban and international listeners while retaining its cultural roots.
  • Documentary and Media Presence: Her appearance in the 2013 documentary Bidesia in Bambai highlighted the lives of migrant workers through Bhojpuri music, further amplifying the genre’s cultural significance. Her performances on platforms like Coke Studio India (Birha in 2014) and reality shows like Junoon (2008) showcased Bhojpuri and Assamese folk to national audiences.
4. Empowering Women in Folk Music
  • Breaking Stereotypes: As a non-Bhojpuri-speaking woman from Assam, Patowary challenged societal norms in the male-dominated Bhojpuri music industry. Her success inspired women in rural Uttar Pradesh and Bihar to pursue musical careers, expanding opportunities in a traditionally conservative field.
  • Addressing Gender Barriers: By performing bold and high-octave folk forms, she redefined the role of women in Bhojpuri music, proving that female artists could excel in technically demanding genres. Her work has contributed to greater gender diversity in the industry.
5. Cultural Advocacy and Social Engagement
  • Highlighting Social Issues: Patowary’s music often reflects the struggles of rural and migrant communities, such as in her album Anthology of Birha, which focuses on themes of separation and migration. Her performances for migrant workers, like those in Bangalore organized by Maraa, foster cultural connection and acknowledgment of their contributions.
  • Promoting Secularism and Diversity: Singing in over 30 languages, including Bhojpuri, Assamese, Hindi, Bengali, and English, Patowary embodies India’s secular and diverse cultural fabric. Her ability to connect with audiences across linguistic and regional boundaries has strengthened the cultural significance of folk music.
  • Recognition by Institutions: Her efforts have been acknowledged through awards like the Bhikhari Thakur Samman (Kolkata and Jamshedpur), Bhojpuri Swar Mallika, and titles like “Bhojpuri Samragee” and “Swar Kokila” from the Uttar Pradesh and Bihar governments, affirming her contributions to folk music preservation.
6. Challenges and Criticisms
  • Vulgarity Debate: Patowary faced backlash for singing innuendo-laden Bhojpuri songs early in her career, which some argued degraded the genre. She defended herself, arguing that perceptions of vulgarity are subjective and that her devotional songs, like Ganesh ke Papa, were equally significant in her rise to fame. She emphasized her broader contributions to elevating Bhojpuri music’s respectability.
  • Balancing Commercial and Traditional: While Patowary has sung Bollywood tracks like Uncha Lamba Kad (Welcome) and Gandi Baat (R... Rajkumar), she has advocated for retaining the authenticity of folk music in mainstream media, suggesting that every film include one authentic folk song to preserve its original form.
Conclusion
Kalpana Patowary’s role in reviving and preserving folk music in Bihar and India is multifaceted, encompassing performance, innovation, and advocacy. By bringing traditional Bhojpuri folk forms to global stages, documenting Bhikhari Thakur’s legacy, empowering women, and addressing social issues through her music, she has ensured that these cultural treasures remain vibrant and relevant. Despite controversies, her dedication to blending tradition with modernity has made her a pivotal figure in the resurgence of Bhojpuri and Indian folk music, earning her widespread recognition and a lasting impact on the cultural landscape.