Folk songs are songs of knowledge and tradition: Malini Awasthi on championing India's cultural legacy

Time of India

26-04-2025

Malini Awasthi, a dedicated folk artist, has passionately championed India's rich musical heritage, preserving regional dialects like Awadhi and Bhojpuri. Trained in classical music, she faced challenges in gaining recognition for folk music but remained steadfast in her mission. Through meaningful collaborations and a commitment to purity, Awasthi is expanding folk music's global appeal while staying true to its essence.
Folk artiste
Malini Awasthi
has long been a powerful voice for India's diverse musical heritage. Trained in classical music under stalwarts like
Ustad
Rahat Ali Khan Sahib and Padma Vibhushan Girija Devi ji, Awasthi's journey into folk was deeply rooted in the cultural traditions she grew up with—stories, songs, and rituals that embodied the very spirit of Bharat.
In an era dominated by fusion and commercial sounds, she has steadfastly preserved the purity of regional dialects like Awadhi, Bhojpuri, and Bundelkhandi, overcoming challenges to bring them into the mainstream. In a candid conversation, she reflects on her artistic philosophy, the inner strength it took to stay true to her calling, and how meaningful collaborations are helping take India's folk music to a global audience without diluting its soul. Excerpts…
What drew you to folk music initially?
I studied at Banaras Hindu University but received my classical training under great gurus like Ustad Rahat Ali Khan Sahib and Padma Vibhushan Girija Devi ji, in the true
guru-shishya parampara
.
What drew me to folk music was the culture I grew up in—the Bhartiya traditions, folklore, folk tales, songs, and rituals so deeply and beautifully woven by our ancestors. Through folk theatre, stories, and customs, they spoke of a larger idea of Bharat—
Seva, Sudehya, Kutumbakam, Sarve Bhavantu Sukhinah
. I realized that this is what I wanted to dedicate my life to.
My education in Sanskrit and history further deepened this understanding. I felt an urgency to bring folk music to the forefront, especially at a time when it was sidelined, seen as something of a bygone era. The scholar, thinker, and artist in me—rooted firmly in Indian tradition—kept telling me that this work was important, that it had to be done. Since I could sing, I had to use my voice to revive and popularize it, especially among the youth, to show them the greatness of our traditions and culture.
These songs are not just entertainment. They are songs of knowledge, tradition, and education. They enrich you, make you a better person, and help you understand who we are.
I'll give you a small example. In Awadhi, during every puja, we grew up hearing folk stories from our grandmothers, mothers, and later, even from our mothers-in-law. This oral tradition continues even today. At the end of these stories, the women would say,
"Jaisa unke din bahure, waise sabke din bahure"
, wishing for everyone's happiness—an echo of
Sarve Bhavantu Sukhinah
. I was fortunate—and perhaps very observant—to absorb all this as a child and young adult. It made me realize that whatever I do in life, I must popularize folk songs and traditions because they are the true introduction to our real Bharatiya culture and soul.
What challenges have you faced in ensuring regional dialects like Awadhi, Bhojpuri, and Bundelkhandi folk and musical forms receive the recognition they deserve?
Yes, it has definitely been a huge challenge to ensure that regional dialects and musical forms not only receive recognition but also the respect they deserve. It all comes from conviction. I was very convinced, but I had to convince my audience too—and the organizers, who firmly believed that folk music couldn't hold attention beyond a point.
I worked to change that perception. I created an interesting format, weaving songs into stories and developing a
shaili
where I explained what I was singing, so the audience could journey with me into the era and essence of each song.
It hasn't been easy—it's taken decades of hard work, perseverance, and an unshakable belief that this could be done. Today, when I perform and see 10-year-olds to 80-year-olds, women and youth alike in the audience, it fills me with happiness. I feel I have been able to achieve what I set out to do.
In an era where fusion music is becoming mainstream, you have remained a purist. What motivates you to stay true to folk traditions, and how do you balance authenticity with evolving audience expectations?
Yes, I have remained a purist, and it has been a big challenge—after all, who isn't tempted? As an artist, you're surrounded by offers to do things that may not always align with your values. I've had moments when I was asked to sing film songs where I wasn't comfortable with the lyrics, and I had the courage to walk out of studios without recording.
If you truly believe in maintaining purity, you have to learn to say no—and I have said more no's than yes's in my career. Every refusal made me stronger, more certain that I was on the right path.
There were many temptations early on—to do fusion, to sing what wasn't expected of me, to collaborate with artists I wasn't comfortable with. I consciously chose my stages, my songs, my events. I didn't mind traveling miles to sing at a school or a village health initiative if it meant preserving the purity of folk traditions. But I refused to join the popular bandwagon of random experiments—and today, I'm glad I stayed true to my calling.
Your collaborations with artists like
Ricky Kej
, Amaan and Ayaan Ali Bangash, and
Vishal Mishra
have brought folk music to newer platforms. How do these collaborations help in expanding folk music's global appeal while keeping its essence intact?
Definitely, I agree—collaborations help music travel beyond boundaries. I'm very happy that young, brilliant minds like Ricky Kej and Amaan-Ayaan Ali Bangash approached me to collaborate. It's interesting because Ricky is a Grammy-winning artist, and Amaan and Ayaan carry such a rich legacy—they know exactly what they are doing. I thoroughly enjoyed taking myself beyond my own boundaries and doing something new and meaningful with them.
While you are known for preserving folk music, you have also lent your voice to
Bollywood
songs. How do you approach singing for films compared to performing traditional folk music?
I've been fortunate to lend my voice to many Bollywood songs—working with Pritam, Anu Mallik ji, and recently Jatin ji (Jatin Pandit) for a song that should release this year. Most of my Bollywood work has been rooted in folk. Bollywood's reach is massive, and I'm very aware that when I'm approached, it's for the raw, earthy essence I bring. I always try to stay true to that spirit. I feel happiest when the songs are also picturized with the same purity and innocence that folk music carries.