Rajasthan's folk songs are a rich and diverse reflection of the state's cultural identity, deeply embedded in the daily lives, celebrations, and traditions of its people. These songs are broadly categorized to capture their varied forms and purposes.

I. Introduction to Rajasthani Folk Songs Folk songs are a reflection of the natural evocations of the common people, expressing their joy and sorrow. Poet Rabindra Nath Tagore described folk songs as an art that carries a pleasant message of culture. Mahatma Gandhi considered folk songs to be the language of the people and the watchman of their culture. According to the Standard Dictionary of Folklore Mythology and Legend, folk songs are musical poetic compositions passed down through oral tradition rather than writing or printing. Rajasthan is recognized as a prosperous state in terms of its folk music.

II. Classification of Folk Songs Rajasthani folk songs are primarily divided into three main categories:

1. Folk songs of Common People
2. Professional folk songs
3. Regional folk songs

A. Folk Songs of Common People These songs are sung by the general public on various occasions and can be further divided into five types:

1. Folk songs related to Sanskara (Rituals): These include songs for occasions like Sagai (engagement), Badhawa (congratulatory), Chakbhat, Ratajga, Myra, Haldi, Ghodi, Bana-bani (bride and groom songs), Vara Nikaasi (groom's procession), Torana, Hathlewa, Kanwar Kaleva, Jimnavar, Kankanandora, Jala, Jua - Jui, Bindola, and Jacha (childbirth).
2. Folk songs related to Festivals: Songs performed during festivals such as Teej, Gangaur, Rasiya, Hori, and Dhamaal.
3. Season related folk songs: These include songs like Phag, Siyala, Barh Masa, Cheti, Kajali, Chaumasa, Papio, Badli, and Mor, which correspond to different seasons.
4. Religious folk songs: Devotional songs like Languria, Teja, Chiraja, and Harjas.
5. Miscellaneous Folk Songs: This category covers a variety of melodious songs, including Idoni, Kangasio, Goraband, Panihari, Lur, Olun, Supana, Hichki, Mumal, Kurjan, Kajalia, and Kaga. It also encompasses children's play songs and magic songs, showcasing the beauty of folk music.

B. Professional Folk Songs During the monarchical era, many castes in Rajasthan adopted music as a profession. These professional singers would perform songs in praise of their patrons, including kings, maharajas, and feudal lords.

• Major Musical Castes: Key communities involved in professional folk singing include Dholi, Mirasi, Langa, Kalavant, Bhat, Rao, Jogi, Kamad, Vairagi, Gandharva, Bhope, Bhavai, Rana, Kalbeliya, and Kathik.
• Ragas Reflected: These songs reflect the nuances of various ragas such as Mand, Des, Sorath, Maru, Parj, Kalingra, Jogia, Asavari, Bilawal, Peelu, and Khamaj.
• Heroic Songs: Heroic songs, often sung during wartime by these commercial castes, were typically based on the Sindhu and Maru ragas.

C. Regional Folk Songs These songs are distinct to specific geographical areas of Rajasthan and are broadly classified into three parts:

1. Folk Songs of Desert Region:
   • Area: Prominent in regions like Barmer, Jaisalmer, Bikaner, and Jodhpur.
   • Songs: Examples include Kurjaan, Peepli, Ratan Rano, Mumal, Ghughari, and Kevda.
   • Characteristics: Due to the expansive and open environment, the folk songs from this region are characterized by higher vocals, longer melodies, and greater vocal expansion.
2. Folk Songs of Hills Area:
   • Area: Found in regions such as Udaipur, Dungarpur, Banswara, Pratapgarh, and Sirohi.
   • Songs: Include Patelya, Bichio, Laler, Machhar, Nokhila, Thaari Oonta Ri Aswari, Naveri Aswari, Shikaar, and Hamseedhon.
   • Characteristics: There is a greater prevalence of group folk songs and tribal folk songs in this area.
3. Folk Songs of Plain Region:
   • Area: Encompasses regions like Jaipur, Kota, Alwar, Bharatpur, Karoli, and Dhaulpur.
   • Songs: Predominantly feature songs of Bhakti (devotion) and Shringar Rasa (romantic sentiment).
   • Rasa Dominance: In terms of emotional content (Rasa), Rajasthan's folk music is rich, with the maximum number of songs belonging to Shringar-Rasa, followed by Veer-Rasa.

III. Specific Folk Songs and their Descriptions

• Kesariya Balam: This is the state song of Rajasthan, traditionally sung in the "Mand singing style". It expresses a wife's plea to her husband to return home from abroad (Pardes).
• Moreo: A song sung by a girl who is engaged but whose marriage has not yet taken place.
• Kurjan: A folk song where a message is conveyed to the husband, who has traveled abroad, through the Kurjan bird (Siberian Crane).
• Suvatio: Bhil women use this song to send messages to their husbands via parrots.
• Kaga (Crow): A woman sings this song to observe the omen of her estranged husband's return by symbolically "blowing up" a crow.
• Hichki: A folk song from the Mewat Region (Alwar), sung when someone is deeply missed or recalled.
• Bichudo: A well-known folk song originating from the Hadoti Region.
• Kaman: This song is performed to protect the groom from evil spells or witchcraft during marriage ceremonies.
• Badhawa: A folk song sung to celebrate the successful completion of an auspicious task.
• Sithane: Songs sung by women during wedding festivities, often with humorous or satirical content.
• Pavana: A song traditionally sung upon the arrival of the son-in-law at his in-laws' house.
• Jorwa: A folk song from the Jaisalmer region, typically sung in memory of someone.
• Dhola Maru: Originating from the Sirohi region, this folk song is based on the romantic legend of Dhola and Maru and is performed by singers of the Dhadhi caste.
• Olue / Cuckoo: A song of remembrance, often sung by women to recall past events or loved ones.
• Peepli: Through this song, a wife remembers her husband who is in a foreign land and implores him to return.
• Chirmi: A girl living in her in-laws' house sings this song to express her longing for her family and loved ones, personifying the Chirmi plant as a messenger.
• Humsidho: A folk song collectively sung by Bhil men and women in harmony.
• Gorbandh: This song is about the neck jewelry of a camel and is sung by women while crafting it. It is particularly popular in the Shekhawati region.
• Panihari: These songs celebrate women who carry water, often depicting their virtues and the challenges they face. They are part of the folklore surrounding virtuous women.

IV. Rajasthani Folk Music Styles

• Mand Singing Style:
  • Description: Historically, the "Jaisalmer region" was known as Mand. The folk music style that developed there adopted this name and later gained popularity throughout Rajasthan. It is considered a half-classical style and is associated with the Shringar Raga.
  • Major Mand Singers: Notable performers include Allah Milai Bai (Bikaner), Gawri Bai (Pali), Jamila Bano (Jodhpur), Banno Begum (Jaipur), and Mangibai (Udaipur).
• Manganiyar Singing Style:
  • Description: This folk music style was developed by the Manganiyar community in the Jaisalmer and Barmer regions.
  • Main Instruments: Key instruments associated with this style are the Kamaycha (played by Sakar Khan Manganiyar) and Khadtal (played by Saddik Khan Manganiyar). Both Sakar Khan Manganiyar and Saddik Khan Manganiyar are prominent artists of this style.
• Taalbandi Singing Style:
  • Description: Developed by the Sadhus (saints) and Sanyasis (ascetics) of the "Braj Region", this folk music style became popular in various areas of Rajasthan, including Bharatpur, Karoli, Alwar, and Sawai Madhopur.
  • Main Instrument: The primary musical instrument used in Taalbandi is the Nagada.

V. Features of Rajasthani Folk Songs Rajasthani folk songs carry profound cultural significance:

• Personification of Nature: They embody a deep love for nature through the personification of natural elements, as seen in songs about Chirmi, Peepli, and Jeera.
• Connection to Animals and Birds: Animals and birds are often treated as family members, reflected in songs like Kaga, Kuranja, and Suvatio.
• Social Reflection: These songs reveal social rituals and beliefs, providing insights into the community's way of life.
• Cultural Transmission: Folk songs serve as a vital medium for transferring culture from one generation to the next.
• Aesthetic Purity: While many folk songs describe Shringar Rasa (romantic sentiment), they are notably devoid of vulgarity.
• Economic Support: They provided a means of employment for various tribes, allowing them to sustain their livelihoods through music.
• Musical Evolution: Folk songs have contributed to the evolution of various Musical Gharanas and distinct folk music styles in Rajasthan.
• Inspiration for Bravery: The feudal environment of Rajasthan led to the creation and singing of many Veer-Rasa (heroic) songs.
• Spiritual Upliftment: Songs dedicated to folk deities offer hope and solace to individuals experiencing distress.
• Role in Public Awakening: Folk songs played a significant role in fostering public awakening during the freedom struggle in Rajasthan, with examples like the "Panchhida" song.
• Regional Identity: Regional songs distinctly highlight the characteristics and economic conditions of their specific areas.

Rajasthan's folk songs are not just entertainment; they are a living archive of its history, social structure, spiritual beliefs, and deep connection to its environment, constantly evolving yet retaining their authentic essence.