During the famous chhath parva of Bihar, there is much music and a lot of singing of folk songs, both at home and on the river bank.The historical ballads dealing with the heroic deeds of the freedom fighter Kunwar Singh have also been immortalized through folk songs in the plain tracts of Bihar. The folk music of Bihar has survived all attacks of modernism. Some performers of Bihar's traditions have achieved commercial success. For example, Sharda Sinha (b. 1953) sings Bihari language folk songs in concerts throughout the world and has released many recordings. Maithil musicians, who seem to have been more popular outside Bihar, enriched Nepalese music and carried the traditions of their Folk songs. Some of the ragas, which may be claimed as special to Bihar, are 'Nachari', 'Phag', 'Chaita', 'Purbi',’lagani rag’etc.In the religious-type of dance the gods and goddesses are invoked through dance accompanied by folk-songs and music…
Bihar has its distinctive folk music. The region's folk songs are most often associated with the various events in the life of an ordinary person. The sohar is performed during childbirth, sumangali is associated with weddings, ropnigeet is performed during the season of sowing paddy and katnigeet is performed during the paddy harvesting season. The other forms of Bihari folk music include purbi, chaita, hori, bidesia, ghato, birha, kajari, irni/ birni, pachra, jhumar, jatsari, aalah, nirgun and samdaun. The tradition of war songs is called Beer Kunwar.Wandering folk singers in Bihar include the Kathaks, who travelled in groups and performed to the sounds of the dholak, sarangi, tamburu and majira. Other Bihari musician classes include Roshan Chouki, Bhajaniya, Kirtaniya, Pamaria and Bhakliya. During the 19th century many sad plays and songs called biraha became very popular in the Bhojpur area.
Bihari folk songs such as the Thumar or Barahmasa are sung by females in groups, especially when they are engaged in paddy plantation. When grinding corn in Jata or Chakki, they usually sing the Jatusari.
Major Artists
Shyam Bihari Gaud,Bhikhari Thakur,Madhubala Shrivastava,Padmashree Sharda Sinha
The folk songs of the tribals have a strong ethical background. Just as in their dance there is no semblance of base. In spite of the absence of a script, many of the songs have been preserved. They have been handed down from generation to generation by the old men and women singing the songs to the younger generation and making them sing. The younger ones have the dancing floor to themselves. But the older generation, men and women, sit, watch and correct mistakes and provide guidance in music or rhythm. Purity and the primeval form in tribal poetry, songs or dance has been preserved wonderfully, although without any written literature.
In their social life there is no place for the individual and it is the community for which the individuals exits. So the tribal songs have a moral and cultural bearing which makes them the common property of the entire community and the world at large. The universal appeal is a remarkable feature of the tribal songs and music.
Festival songs mark another important category of folk-song.Navaratra is religious and ritualistic to the core. People, especially women-folk, worship goddess Devi for nine days with proper rituals and observe fast. During the festivals, music conferences are arranged. There are certain rural centres where fine forms of music have been developed. Darbhanga, Panchgachia in Saharsa district, Ara and Jhabua towns have developed prolifically the music of various forms. There used to be a school of music where village girls and boys were being trained in playing of Mridanga.
Some of the rich local Zamindar families in different parts used to hold regular music conferences every year. This form of entertainment has become rare now.
Pastoral songs express the thoughts, aspirations and sorrows of the villagers. Kuvar-Vijay folk songs are historical while Sobhnaika is sung at the time of marriage. Folk songs are widely recited and appreciated on religious and social occasions like Nagpanchami, Janmasthami, Tiz, Chauk Chanda, Anant, Chhath, karma etc.
The marriage ceremony holds an important place among the ceremonies prescribed by both shastras and folklore. This ceremony lasting for several days is equally important for folk-songs. For example, some songs are called nehchu songs, sung on the nail-cutting ceremony of the bridegroom. Jyonar is also a form of folk-song which is sung when the bride and the wedding party enjoy a feast. These jyonar songs enumerate the things which are being served in the feast. Marriage songs can be said to be of three categories. The first one is ritualistic and has an air of magical charm about it. Various spirits are involved by a song and imagining that the spirits are coming in they are shut up in the cap, which is pasted on the wall of a room, and which during these marriage days is called ‘Kohbar’. There are other songs imploring the presence and protection of various divinities and spirits.
Purely seasonal songs are those which are sung during raining season, specially in the month of Savan and Bhadon. A class of these songs is called malhar. These songs express the pleasure of ladies when they enjoy ‘rimjhim’ or light showers. They insist in swinging (jhula) while singing with their friends and relatives.
The Santals of Bihar are musical people. One of their favourite musical instruments being a flute with six holes for stops and another one for blowing.
A category of songs are those in which women are free to sing according to their own choice and pleasure, expressing feelings and emotions for different occasions. As this is a very important occasion in the family life, there are many glimpses of delicate family relationship and finer sentiments.
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