Latest news with #Bundelkhandi
New Indian Express
16-07-2025
- Entertainment
- New Indian Express
Folk music, snakes-and-ladders to aid snakebite awareness in Bundelkhand
BHOPAL: Alha, a folk music genre and heroic ballad narrating the tales of two legendary warriors, Alha and Udal, is playing a new role in Madhya Pradesh's Bundelkhand region — educating villagers on how to prevent and treat snake bites promptly to save human lives. As heavy rains cause snakes to slither into human settlements, making people vulnerable to snake bites, the South Panna division of the MP Forest Department is harnessing the popular appeal of Alha folk music to prevent snakebite fatalities. Annually, the Panna district reports over 60 deaths due to snake bites. The song composed and sung in the traditional Bundelkhandi narrative style of 'Alha' has been penned by noted poet Dr Suresh Srivastava 'Saurabh.' It conveys the risks of snakebite, preventive measures, timely and appropriate anti-venom medical treatment (within three golden hours from the snakebite), and not approaching 'tantriks' and quacks. The song's audio version will be disseminated widely through village forest committees and social media platforms.
New Indian Express
15-07-2025
- Health
- New Indian Express
Alha folk music, snake-and-ladder game part of snakebite awareness campaign in Madhya Pradesh
BHOPAL: A folk ballad narrating the tales of two legendary warriors, Alha and Udal, has now been adapted as an educational supplement to teach villagers in Madhya Pradesh's Bundelkhand region how to prevent and treat snake bites to save lives. As heavy rains cause snakes to slither into human settlements, the South Panna division of MP Forest Department has taken this innovative approach to prevent fatalities caused by snakebites. The culturally resonant folk song composed and sung in the traditional Bundelkhandi narrative (valorous storytelling) style of 'Alha' has been penned by noted poet Dr Suresh Srivastava 'Saurabh.' The song conveys vital information in simple Bundeli lingo about the risks of snakebite, preventive measures and timely-appropriate anti-venom medical treatment (within 3 golden hours from the snakebite). The song particularly educates snakebite victims to rush for medical treatment instead of approaching the tantriks (faith healers for treatment). The specially composed song's audio version will be disseminated widely through the village forest committees and social media platforms to ensure that it reaches the remotest and vulnerable communities effectively. 'Alha is a very popular folk music genre across the Bundelkhand region. By blending local folk music with modern awareness messaging, this public outreach initiative aims to adequately educate people and minimise incidents of snakebites and associated deaths. Our campaign stands as an exemplary model of how traditional art forms can be harnessed for life-saving awareness and public health communication in rural India,' DFO-South Panna Forest Division Anupam Sharma told TNIE on Tuesday. But it's not just the storytelling power and emotive connect of Alha folk music which is being used by the South Panna Forest Division (spread in 1.80 lakh hectares dense forest area) to educate people about snake bites.
Mint
17-06-2025
- Entertainment
- Mint
A Bundelkhandi play employs humour to decode complex issues
When Srinivas Beesetty first opened Sakal Jaani He Naath in Bengaluru in 2021, just before the onset of the covid-19 pandemic, the play had an ensemble cast. Over time, though, the Bengaluru-based director has discovered newer layers to the tragic comedy, which is an adaptation of Vasant Deo's Sudama Ke Chawal. The story is a satire on the patriarchy prevalent in today's society and the double standards practiced by men. Instead of the original ensemble cast of six, the play is now performed solo by Bhumika Mane, who essays five different roles on stage, including that of the narrator, Sudama, his wife Savitri, Krishna and the Dwarpal (gatekeeper). The play in Bundelkhandi, Braj and a smattering of Awadhi was recently performed at the Himachal International Film and Art Festival, and will now be staged in the Capital. According to Beesetty, while Sakal Jaani He Naath started as a satire on the double standards of men, the play also hinted at the way women were portrayed in myths and legends as catalysts of war—be it Sita in Ramayana or Draupadi in the Mahabharat. However, there has been little focus on them being victims of patriarchal norms. '[In this story] Savitri prods Sudama to go to Krishna for help. In the original play by Vasant Deo, when Sudama returns to his house and sees it turned into a palace, he questions his wife's chastity," explains the director. The choice of Bundelkhandi and Braj as the medium stemmed from Deo's play itself. 'Bundelkhandi is the preferred language for swaang or saang, a popular form of satire in folk theatre in Haryana. Deo's play was also designed as a swaang, and we incorporated that into our performance," shares Beesetty, who is also the founder of Kahe Vidushak Foundation, a Bengaluru-based theatre group, which has produced various plays with elements of folk theatre. Also read: Planner: 4 events that make this an eclectic week The format of swaang, while conveying humour, also addresses complex social issues, biases and rituals in a relatable manner. 'Bundelkhandi is less formal than Hindi and is used in informal settings. Using it in a script allows for the play to feature a lot of tongue-in-cheek statements," he says. The language was also effectively used in Chandaa Bedni, a play which was recognised at the Mahindra Theatre in Excellence Awards 2025. In popular culture, the National Film Award-winning feature Paan Singh Tomar used Bundelkhandi for authenticity. The play will be performed at Lilanoor Center, Delhi on 17 June at 7 pm. Deepali Dhingra is a Delhi-based culture writer. Also read: 'No Longer a Memory': An artist's recent photo performance series relives his childhood memories
Time of India
26-04-2025
- Entertainment
- Time of India
Folk songs are songs of knowledge and tradition: Malini Awasthi on championing India's cultural legacy
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.
