Drenched in folksy tunes

Malini Awasthi, Kailash Kher and Abhay Sopori underline the rustic nature of Holi songs

March 23, 2016 08:17 pm | Updated 08:28 pm IST

Malini Awasthi Photo: V. Sudershan

Malini Awasthi Photo: V. Sudershan

The very thought of the festival of colours, Holi, brings with it the excitement of vibrant gulaal and the elemental joy of dancing. And when it comes to dancing, what better than folk songs can make our feet tap! “Selflessness is the very essence of Holi, it does not hold you back, and is all about letting yourself lose. Likewise, folk songs have always been a part of our celebration, and always will be. They exude vivacity and a sense of togetherness that we are bound to revel in the warmth of the festival.” says folk singer Malini Awasthi on the vitality of folk songs that radiate elation.

Holi portrays community love and the joy of assembling with frenemies as well, and the customary pressing of gulaal on cheeks lifts up the festivities even more. In between the amusement, says Malini, when “Holi Aayi Re Kanhai” plays, people revel in the innate innocence and playfulness that Holi brings.

The singer says, “Phagun is a special month which is intrinsically so romantic. And Holi happens to be the bearer of folk songs that simply ooze the organic cheer and unites the larger populace of every generation. As gregarious beings, we are naturally bent to celebrate in groups, and folk songs add impetus to us being united.”

“Raag Pilu in ‘Rang Barse’ has been an all-time favourite of listeners cutting across generations. Similarly, ‘Khelenge Hum Holi from Kati Patang epitomises the abundance of love, breaking free from the unsaid shackles and revelling in fervour. Fortunately, Holi is one festival that is celebrated in the most basic manner and has remained largely untouched by urbanisation. Ragas like Kafi, Pilu, Khamaar are the cornerstones of Holi folk songs. The soul of the festival is very village-centric and must remain that way,” says the singer who has been bestowed with the Padma Shri this year.

Common man’s voice

For santoor player Abhay Sopori “Rang Barse” continues to be the ultimate Holi song. He watched the song in Srinagar in 1980s. The iconic song of Silsila was hugely entertaining as Amitabh Bachchan lent his voice but also because it gave him a glimpse into different aspects of the festival – colours, song and dance and thandaai. “During our growing up years “Chitrahaar” was watched with curiosity and “Rang Barse” was featured regularly in the programme. It left a lasting impression on my mind mainly because it was sung not by a playback singer but Amitji himself. Though his is an untrained voice yet it struck a chord with the common man, who could relate to the song. When singers like Kishore Kumar, Mohammad Rafi used to sing they were meticulous about using the right technique and voice modulation. But Amitji’s song became a phenomenal hit because the common man, who sings without proper voice modulation, saw himself in Amitji.”

Emphasising the significance of the song, Abhay says, “In the annals of the film industry whenever someone would speak about Holi songs the first one would definitely be “Rang Barse”. No function on Holi can be celebrated without playing this song. Its wordings and melody connect with everyone whether the young or the old.”

Since Abhay grew up in the Valley, he was not acquainted with the larger message of the festival. “We played festivals like Shivratri, Id and Diwali in Srinagar. In 1990s when we settled in a rented accommodation in New Delhi’s Pamposh Enclave, we were greeted by neighbours on Holi. They would put vermilion on our foreheads and share barfi and gulab jamun with us.”

Later, when he along with his family moved to Lodhi Colony house he again got close to his neighbours due to the beauty of this festival. “More than our parents, I realised that our neighbours were more protective towards us. The festival binds people together; it symbolises unity of the country and communal harmony, a subject close to me,” says Abhay, who is currently organising a festival in different parts of Kashmir.

Apart from the song of Silsila, Abhay also likes Dharmendra-Hema Malini song “Holi Ke Din Dil Khil Jaate Hain” of Sholay. “Both these songs relate to specific regions of our country and appealed people of all age groups. But now the computer-generated songs can be from any place.”

Reminder of imperfection

This Holi Kailash Kher “O Jogi O Jogi Mane Cheli Karlo Ji” from his latest album “Ishq Anokha” (Saregama). “The song goes on to say Thari Chitti Chitti Chadar Mat Maili Karlo Ji. In the mystical world the different between body and soul disappears and the gender becomes meaningless. The pristine white represents idealism which is unachievable in the practical world. Get drenched in the colours of the real world. If you get fame and respect, there will be days when you will face criticism.”

Having grown up in Delhi’s Mayur Vihar, Kailash recalls how he used to part of tolis that moved from Mayur Vihar to Vinod Nagar and Pandav Nagar, which were villages then. “At that time dhamars and dhrupads were sung on the streets. They had not become niche pursuits,” says kailash breaking into a rasiya, “Rasiya Ko Naar Baanao Re.” “We used play dhol, tashe and manjire and there were jhankis where somebody would wear a horse mask and dance. These instruments are missing now or are available on octaped.” Kailash laments that a lot of plasticity has crept into our festivals. “Be it the electric lights and plastic diyas on Diwali or buying gunjiyas from the market on Holi, we are nurturing laziness. There is a difference between achieving success and buying success. Festivals represent change in seasons and we should value them. Today the biggest demon is consumerism. Let’s slay it.”

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