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.