The indigenous the regional and the folkish tunes of our nation is largely varied and impeccably detailed according to the genres of purpose. The lyric varies largely-it is occasionally exuberant, in terms of celebration of moods and colours of the seasons of the outer world or the inner walls of one’s inner being. And, at the same time it can swoop down low to the melancholies and poignancies of a deep seated anguish and pain.
If one wishes to draw, a parallel between these indigenous songs, and the mainstream crop of music today, there would be a striking resemblance in terms of the character and the organics of the songs. Because, time and again, men have resorted to weeping and celebrating to the same set of basic emotions, no matter what.
Here are the exemplary evidences of Bollywood going glocal with regional music.
Embraced by the youth, almost as an anthem, Jugni had been the dope for many across the length and breadth of the sub-continent. Jugni, has evolved largely from a Punjabi narrative, which meanders many different worlds including the spiritual, the romantic and the absurd. The subtlety and the treatment of the song largely depend on the intent of the writer and the mood of the film where it has been used. And, hence we have all different impressions and interpretations of the song in modern day renditions ranging from the utmost feministic to the downright, love-bite blues.
Used in the movie Dor, Kesariya Balam is the most iconic Rajasthani folk song that has stayed in vogue no matter what. Sung in the film Lekin by Lata Mangeshkar, Kesariya Balam was the most sought after thematic lyrics for a travelling foot to India for ever in time. The folk song is originally sung in the Maand style of the deserts. It is interesting to note that this style of singing, is a breed of its own kind, just as the Ghazals are standalone beauties. Hence, this piece of musical ingenuity is as grand and exclusive as the beautiful terrains of the north-west.
The typical cry of a young lady, asking the boy from Amritsar not to pluck flowers that have not yet blossomed is a hybrid case of topical influences. The tune and lyrics are from different sources, but they blend in the sensuous voice of the gifted Sona Mahapatra. Though, many have termed the song sexist and largely biased and narrow-minded, the song stands as a largely impactful chartbuster with its uncanny but relatable circumstantial lyrics.
The zingy number from the yester-year super hit film, is originally a Rajasthani gypsy song.
“Chappa chappa charkha chale”
This peppy tune from the cult classic Maachis, is actually a Punjabi folk song that, bereaves the pain of the good old days through the raw stock memories of a humble soul, lost in the wilderness of the time. Peppered with the juicy combo of Gulzar and Vishal Bharadwaj, that the song reaches to a pious altar of timelessness.