Beyond The Sand Dunes: The oral history

of desire,longing and resilience in

Rajasthani folk songs
By ANCHAL SONI

ABSTRACT:

This paper investigates the rich cultural tapestry of western Rajasthan to explore how cultural memory
is preserved in folk music of Langa and Manganiyar communities. Through an ethnomusical
perspective this study maintains the hypothesis that the elements of desire and longing of the beloved
in these songs is often juxtaposed with wider community concerns of honour and a hyper masculine
valour. The folk culture in this light reflects an alternative historiography to the mainstream discourse
of the very conception of what constitutes folk music, oral culture and identity formation.
The intricate interplay between Rajasthani folk music and the region's historical narratives, societal
traditions, and cultural identity also reveals how an examination of the folklore culture is an exercise
in deconstruction of the ideas of stereotypical regional identity. This study attempts to unveil a
multifaceted intangible cultural discourse. This cultural discourse is embedded in the history of the
concerned closed communities and unravels an intersection of caste, religious persecution, regional
identity and oral tradition. This paper also argues how these folk songs of longing and unfulfilled
desires can be placed parallel to the migration history of these communities in the post-partition era.
This paper attempts to draw from the lyrical content, musical structures, and performance contexts
from various folk songs but limits an deeper discussion to the songs- Kesariya Balam Padharo mhare
desh, Kadi aao ni Rasila Mhare Desh and Thari Odu Gadi Aave re saa. (Trans. My Beloved is
welcomed to my nation, Oh Beloved do visit my homeland sometime and Your memory is a constant
visitor)
The methodology of this research includes interviews, field observations, and archival research to
study how oral histories across generations are disseminated and encoded. Finally, the paper attempts
to decode the impact of a permeating modernity in the folk culture of Langa and Manganiyar
communities and the trends of cultural resilience that continues the rendition of these folk songs.

Key terms: Folk music, Ethnomusicology,Oral tradition,Cultural preservation, Identity formation,

Cultural memory, Transcultural exchange.

INTRODUCTION
This research emancipates from a land beyond borders, where the furthest horizons seem right there
before you reach to touch them. I'm speaking about the district of Jaisalmer in Rajasthan bordering the
thar desert with Sindh. What's enforced today as a heavily militarised border never used to exist and
the folk music we are going to discuss comes from an era where no music existed. caravan roots and
long distance trade connect Rajasthan with the regions of sindh( modern day Pakistan) and Punjab
along the indus river. This is the region where Sufism first became well rooted in mediaeval India
before spreading to part of the subcontinent. Sufis i.e. muslims with a mystical orientation settled in
India and found an innovative way to communicate the islamic message of love and union with the
transcendental. Music and poetry was Central to Sufism.In the communities that thrived on long
distance caravan trade there evolved sufi inflicted folk music sung by the Langa and Manganiyar
community.
This is a music that is pulsating and earthy in its percussion but also etheretand haunting in its
melodies. it delivers the universal message of love and compassion of the creator's intimate
involvement with us. It is a colloquial take on parochial chauvinism and personal arrogance. it gives a
message to live our lives as if we ourselves were a melody, beautiful right now in the present but in a
moment blown away as if on a desert breeze. Manganiyar and langa singers and musicians give us
poems from Sindh And Punjab from 18th and 19th century when vernacular languages were gaining
popularity. These poets include baba buleh Shah and shah Abdul Latif and various anonymous poets
as well. The following pages discuss the past, present and the possibilities of these communities
through a literary analysis of some of their folk renderings.

ORIGIN AND MIGRATION HISTORY

The precise origins of the Langa and Manganiyar communities remain obscured in the passages of
time. Scholars speculate that these communities found their roots in the ancient inhabitants of the Thar
Desert. Over the centuries, historical evidence suggests their migrations from present-day Sindh and
parts of Punjab to Rajasthan, where they settled and integrated into the social fabric. These minority
muslim musical communities of Marwar have a pre-partition history that existed beyond the
acknowledgement of militarised borders. Naturally, cross border migration of people, renditions, ragas
and musical aesthetics continue till this date. These communities are included in the scheduled castes
and tribes of reservation system. In the post-partition era they were identified in the caste hierarchy as
kamin or kisbi.
Ethnomusicologists note during their research that these communities have a history of abjection
where they are placed in the lowest of the low strata of rural caste hierarchy. Analysing the folk music
of Langa and Manganiyaar is then also a study in understanding intersectionality through caste,
religion and regionality. During the mediaeval ages they operated through the jajmani system. After
the colonisation of the Indian subcontinent the caravan trade mode shifted to more lucrative port city
centres like Bombay, Surat and Madras. This led to the collapse of rajput centric and merchant centric
societies like the royal gharanas of Marwar. This economical base shattered the superstructure of the
jajmani system weakening the ties between the patroon families and the musician communities like
Langa and Manganiyaar.
Today these communities lie scattered throughout north-western India through migration and in a
quest of upward social mobility. Folklorist and ethnomusicologist Komal Kothari played a crucial role
in the 1970s to preserve the essence of Rajasthani folklore culture through the establishment of
research institutions like ruayan sansthan. However, much of the sustainability of the Langa and
Manganiyaar communities comes from their own tragic exoticisation where they are left to occupy
space in hotels and restaurants in urban tourist domains.

STRUCTURE AND COMMUNITY DYNAMICS

Both communities have distinct social hierarchies and structures. The Langa community, primarily
Muslim, is organised into clans, each specialising in a particular musical genre. The Manganiyars,
predominantly Hindu, are organised into extended family units known as 'gots,' responsible for their
musical lineage. The elders hold significant influence, diligently passing on musical knowledge to the
younger generation. Their musical repertoire showcases a captivating melange of folk songs, ballads,
and devotional hymns passed down through generations. Renowned for their virtuosity, their
performances feature soulful renditions on traditional instruments such as the sarangi, dholak, and
khartal. These melodies, often accompanied by lively dance forms, narrate stories of love, valour, and
devotion, enthralling audiences worldwide. The main difference between the Manganiyar and Langa
tribes is that they both serve different patrons. The Manganiyars serve mainly Hindu patrons and the
Langas serve the Muslims. Komal kothari also notes in his study that the communities remain
essentially gendered. Anjali Singhvi and Komal Kothari opine how the dichotomy of public and
private spheres continues in these communities. These features seep into the vocal rendition of their
music where these dichotomies are explored through an earthly lens of separation and a longing of
union between a beloved who migrated beyond the sand dunes and a lover who waits.

THE TEXT OF THREE RAJASTHAN FOLK SONGS

***
Text 1
KESARIYA BALAM
केसरिया बालम आवोनी, पधारो म्हारे दे श जी |
पियाँ प्यारी रा ढोला, आवोनी, पधारो म्हारे दे श |
आवण जावण कह गया, तो कर गया मोल अणेर |
गिणताँ गिणताँ घिस गई, म्हारे आंगलियाँ री रे ख ||
केसरिया बालम आवोनी, पधारो म्हारे दे श |
साजन साजन मैं करूँ, तो साजन जीवजड़ी |
साजन फूल गल ु ाब रो, सघ
ंु ुँ घडी घडी ||
केसरिया बालम आवोनी, पधारो म्हारे दे श |
मारू थारा दे श में , निपजे तीन रत्न |
इक ढोला इक मरवण,तीजो कसम ु ल रं ग ||
केसरिया बालम आवोनी, पधारो म्हारे दे श |
सपु ना तू सोभागियो, उत्तम थारी जात |
सो कोसा साजन बसै, आन मिलै परभात ||
केसरिया बालम आवोनी, पधारो म्हारे दे श जी |

***
Text 2
KADI AAO NI RASILA MHARE DESH

कदे आवो नी रासीला मारे दे स

जोवां थारी, बात घणी
अरे आवां जवान कर गये रे
कर गया बोल अनेक
आवन जवन करे गइल
कर गया बोल अनेक
दिंदा रे गत
ंु ी घाट गई
आंगणिया री रे ख
अरे दिनरा रे गत ंु ी घट गई
पेरुदा री रे ख
कडी आवो
कड़ी आवो नी रासीला मारे दे स
जोवां थारी बात घणी
कदे आवो नी रासीला मारे दे स
जोवां थारी बात घणी
अरे गंजू रे पिये गज-पति
भांग पिये भप ू ाल
अरे गंजू रे पिये गज-पति
भांग पिये भप ू ाल
अमल आरोगोगे छत्र-पति
दारूरी पिये दातर
अमल आरूगे रे छत्र-पति
दारूरी पिये दातर
कदे आवो नी रासीला मारे दे स
जोवां थारी बात घणी

***
Text 3
OODU GADHI AAVE OO SAA

सज्जन आया ऐ सखी

तो कै मनवर करा
कर भर गज मोतिदा
खले धरा
मेहला सी रास्ता माने
चितारे जोजी माने
रस्ते मझु े कर लिजो याद
ऊ भर आपरी
ओडु ओडु गंदी आवे राज
ऊ राधोड़ी राजा
ऊद ु गन्दे आवे राज

LITERARY ANALYSIS
The first folk song explores the theme of warriors returning to their homeland after warfare. The
theme is inspired by the stories of Dhola and Maru, the hypermasculine Rajput bravery and the Thar
desert itself. The beloved Kesariya Balam is being distinguished as a unique lover where the colour
symbolises the hierarchy of caste and militarised identity. The composition has a distinct alaap
enhancing the misery of separation. The highlighted line translates as this coming and going of my
lover and the counting of the day of separation has erased the lines on my fingers itself. Such elements
of pathos almost have a sapphic touch which makes the music and lyrics multifaceted. The Langa and
Manganiyar communities boast a syncretic blend of religious beliefs. Influenced by Hinduism, Islam,
and Sufi mysticism, their cultural practices reflect a harmonious fusion of diverse faiths. Whether
performing at Hindu festivals or Islamic ceremonies, their music transcends religious boundaries,
offering a shared experience of spiritual enrichment. When examined under this background the song
can be interpreted as an desire of the union of the self the the transcendental divinity. This religious
syncretism deconstructs the mainstream cis-heteropatriarchal notion often attached to these folksongs.
The lover and the beloved do not exist in a vacuum. There is much more that is being awaited along
with a beloved. The pertaining question remains: What is it that the singer is longing for?

1. Sagas of the marginalised

The Langa and Manganiyar communities face numerous challenges in preserving their unique cultural
heritage. Social and economic pressures, migration, and the allure of more lucrative professions
threaten the transmission of their traditions. Lack of institutional support, limited access to education,
and a transforming socio-cultural landscape pose further challenges. However, the genealogies of
these communities have always been subjected to such an abjection through the dynamics of caste,
religion and classical- folk music hierarchy. A migration study on these communities reveal how
essentially they remain a low- income community and are subjected to exclusion. Moreover, in the
globalised world their music remains exocitised to a degree where these musicians are reduced to the
tamers of tourism and hospitality. They migrate to the popular cities like Jaipur, Jodhpur and Udaipur
in search of employment with their kartals and dholak.
Nevertheless, various organisations and artists from within and outside the communities actively work
towards revitalising and preserving their cultural legacy. But inaccessibility to education continues
their subjugation and these communities remain unaware about the rare government schemes like
National Cultural Exchange Programme, Guru-disciple tradition Plan, The young talented artist Plan,
Documentation of endangered art forms etc. With this renewed context of a permeating modernity the
longing of the Kesariya Balam gains a new meaning. The highlighted portion of the text 3 translates
as a call to the king to think about the lover on his way to his palace. In the second text the singer
recounts the various intoxications the noble man is addicted to. This is juxtaposed with the request to
the beloved to return to the hinterland. However the beloved remains fickle and uncertain. Lucrative
actions and a call for agency is central to these apolitical folk songs. The longing is policised and
becomes a call for positive intervention in the everyday plight of these communities. Else the day is
not far when Langa and Manganiyar musicians will become as rare as the endangered tree Khejri.

2. Ecology and the environmental dynamics

Reading these folk songs evidently reveal a strong connection with the ecological background of the
state. As folk singers the repertoire is never static; they change songs as the patron demands and the
close association with the village community. The villages feed and nurture their music. The sand
dunes are the essential barrier between the lover and the beloved or Dhola and Maru.
These Birha songs are a narrative of rupture and express a strong pathetic fallacy often expressed
through a reference to the flora and fauna of the desert.

सप ु नो जगाई आधी रात में

तनै मैं बताऊँ मन की बात
कुरजां ऐ म्हारा भंवर मिलाद्यो ऐ
संदेशो म्हारे पिव ने पग ु ाद्यो ऐ
तंू छै कुरजां म्हारे गाँव की

This is an excerpt from the song Kurja. It narrates the plight of the lover who’s beloved communicates
through the desert bird Kurja. Ecology is a barrier but also the means of mediation.

CONCLUSION
The cultural history of the Langa and Manganiyar communities in Rajasthan exemplifies the richness
and diversity of the region's heritage. Their musical traditions, religious syncretism, and social
dynamics have not only influenced the cultural landscape of Rajasthan but have also left an indelible
mark on India's cultural tapestry. By recognizing and supporting the Langa and Manganiyar
communities as custodians of their unique traditions, we ensure the preservation of their cultural
identity, paving the way for the continued celebration of their artistic expressions for generations to
come.

REFERENCES
● Ayyagari, Shalini. “Spaces Betwixt and Between: Musical Borderlands and the Manganiyar
Musicians of Rajasthan.” Asian Music, vol. 43, no. 1, 2012, pp. 3–33. JSTOR,
http://www.jstor.org/stable/23252944. Accessed 11 Apr. 2024.

● Anjali Singhvi. Social Mobility through Rural-Urban Migration: A Case of Traditional

“Manganiyar and Langa” Desert Tribes of Rajasthan, India. 1 Jan. 2016,
https://doi.org/10.7916/d8d50n27. Accessed 11 Apr. 2024.
● Bharucha, Rustom. Rajasthan, an Oral History. Penguin Global, 2003.

● Pants, Sprayon. “Desert Sounds: The Music of the Langa and Manganiyar of Rajasthan.”
Harmonium, 28 June 2021,
harmoniummusicblog.wordpress.com/2021/06/28/desert-sounds-the-music-of-the-langa-and-
manganiyar-of-rajasthan/.

● Sinha, Juhi. Beyond the Dunes. Penguin Books India, 2007.