Bhojpuri Queen

Monday, April 7, 2014

Ekta Mahotsav 2014 | Kalpana Patowary invited by Dept.of Tourism | Ghuisarnath Dham, Pratapgarh,Allahabad, Uttar Pradesh.





Pratapgarh:(27th February 2014)

A large gathering, while battling severe cold wave, burst into thunderous applause when Assamese Bhojpuri singer Kalpana Patowary enthralling the audience with their magical voices and presented hit numbers, including Jaikarnath Bholenath, A Ganesh ke papa, A Ganesh ke mummy on the second day of the two-day  Ekta Mahotsav at  Ghuisarnath Dham, Pratapgarh near Allahabad in Uttar Pradesh.
Pramod Tiwary
The audience, including women and children, cheered and danced on Kalpana's hit numbers like 'Gandi Baat','Ek uncha lamba kad','Ishq se meetha koi bhi nahi'  and songs from her international documented album 'The Legacy of Bhikhari Thakur' till late in the night on Thursday. 
The audience were spellbound at the ethnic dresses worn  by the artists which made the evening truly classical. 
The singer thanked  The Deptt. of Tourism, Govt. of UP  and the organisers for inviting her  and promoting Bhojpuri music . 
Pramod Tiwary,MP Rajya Sabha from Congress while inaugurating the Mahotsava  by lighting lamp with chief guests said the activities and participation in the Mahotsava has increased considerably in the last few years and two days for it are quite insufficient. 
Ekta Mahotsava is celebrated at Ghuisarnath Dham on each Maha Shivratri. Given the potentials of this occasion, Mahashivarathri is celebrated with great pomp and vigor at Ghuisarnath Dham. Over 10 Lakhs people and around 100 artists participate in the unique nightlong gathering with Organizer Committee.
Ekta Mahotsav is organised by The Deptt. of Tourism, Govt. of UP  under the Chairmanship of Ghuisarnath Dham Mandir Prabandhan.


Sunday, March 23, 2014

Star of the Folk – An Interview with Kalpana Patowary



Kalpana Patowary, 35, is one of Bhojpuri music’s most popular singers today. She is often referred to as ‘the Bhojpuri queen’. Originally from Assam, she was inducted into music by her father, Bipin Chandra Nath, an Assamese folk singer. She is also a disciple of the legendary Hindustani classical singer, Ustad Gulam Mustafa Khan. Although her first language is Assamese, she sings in Bhojpuri, Hindi, English, Bengali and 23 other languages.

Patowary made her debut in mainstream Indi pop with her remixed album ‘My Heart is Beating’ in 2001. Her first Bhojpuri album, ‘Gawanwa Leja Rajaji’, released in 2003, was a bestseller and established her as a prominent figure in the Bhojpuri music scene. Despite her mainstream success, Patowary has continued her interest in various lesser known folk forms. Her most recent album, for instance, titled ‘The Legacy of Bhikhari Thakur’ is the first recording of the work of Bhikari Thakur. Known as the ‘Shakespeare of Bhojpuri’, Bhikari Thakur was an Indian playwright, lyricist, folk singer and social activist, who developed the folk theatre form of ‘Bidesia’. Fresh off a special performance of Thakur’s songs at Jodhpur Riff,  Patowary is surrounded by a small group of admirers as she settles down on an empty stage for this interview with ‘Riff Diaries’. 
You are originally from Assam. How did you come across the work of Bhikari Thakur? What about his songs appealed to you?

My father is actually a folk singer and through him I was introduced to Dr. Bhupen Hazarika, who’s considered a god in Assam. I’ve been inspired by him since childhood. He wasn’t only a singer or only a lyricist, or only a music director. He had his own ideas and thoughts. His belief in the Marxist philosophy, for instance, had led to him writing songs which were revolutionary, like Dhola he Dhola and Ganga Behti ho Kyon, which he translated too later on. These songs really influenced me.

When I came to Bombay I came with big dreams. But I was struggling and there wasn’t much of a choice about which songs I would be paid to sing. In Assam I had sung a lot of Western songs in a band. And in Bombay I first did a remix song with Times Music— My Heart is Beating. Through them I got in touch with T-Series Super Cassettes and they called me to sing and that’s how I was introduced to the world of Bhojpuri music. Overnight, suddenly, Kalpana became a Bhojpuri singer. Whatever people wanted me to sing I would sing— whatever the lyricists wanted. And I did a lot of work in the Bhojpuri film industry.

But, maybe with age and maturity, I felt, ‘Who is like Dr. Bhupen Hazarika here (in Bhojpuri music)?’ I thought about this for some time, and two or three names came to me. Bhikari Thakur was one of them. Another is Mahendra Misir, and then there’s Vidyapati, who’s a famous Mithila poet. I found Bhikari Thakur’s name very strange. Bhikari (beggar) and Thakur (lord)— they’re like opposites. So I wondered: ‘What is this?’ Then I found out that he was a hajam, a nai (both these words mean ‘barber’) and an uneducated villager. Despite this he was knowledgeable. The things he writes about… I am stunned at how anyone can write like this, on such complex issues, without even being educated. Like his work Kalyug Prem. Even the phrase ‘Kalyug Prem’— how can a layman even understand this concept, let alone express it so well? In it he was talking about wine addiction and using that idea as a metaphor. Many homes in the villages had been destroyed because of alcohol addiction and that was what he was referring to, directly.They’re poor people, they don’t have money, yet they’ll spend on alcohol and hit their wives. This is still going on. We sit in metros thinking that everything’s fine but it isn’t.
Kalpana Patowary at Jodhpur Airport

There was something else I had begun thinking about as well. Many youngsters come on musical reality shows, nowadays, especially a lot of girls. When I started 10 years back, girls singing were looked down upon in the world of Bhojpuri music, but today, especially on the Mahua Channel (a popular Bhojpuri TV channel) there are a lot of female singers competing with one another and I got the feeling, and heard too, that some of them want to be like me. So I felt a sense of responsibility.

So far I had done mostly ‘item songs’ which were from a completely different world from this. I said: ‘No, I need to do The Legacy of Bhikari Thakur.’ It took me three years to do the research as it was difficult. It took many years just to get the original songs. Bollywood or Bhojpuri films don’t play these types of songs— the rhythm is completely different. Suddenly I met Ram Mangia Ramji. There was a show in Dhara village (Chattisgarh) where he performed before me. He was singing Gangaji. I met him and I asked for his help and we made the album. I didn’t think: ‘Let’s keep a 35 to 45 rupees tag, a reasonable price.’ That’s why I didn’t go to T-Series or Wave to produce and distribute it. I went to Times Music and EMI Records. I explained to them and Virgin Records what the album was about. They understood that I wanted Bhojpuri music to go to a completely different level, like Punjabi music has gone to, for instance. And I asked if they could please help me. EMI and Virgin Records saw what I was saying and slowly The Legacy of Bhikari Thakur was accepted internationally, and is still being accepted. From that platform, another platform is (Jodhpur) Riff and that is taking Bhikari Takur one step forward. 
 

How is folk music relevant to us today? And how can we include it in our modern lives?

MTV’s Coke Studio is a good example of how relevant it is. This time I was there with Papon and with Rajasthani folk artists to perform the song Baisara Beera. When I went for rehearsals what struck a chord with me immediately was Nathulalji (Nathulal Solanki), who was playing  the nagada… Suddenly it made me remember my father and how he used to make me sit on the cycle and take me for shows. He was a folk singer. And yet, on the other hand, were Kalyan Barua and all the others with the lead guitar, the bass and the beatboxing. There were two worlds coming together. These days everyone is doing fusion, because that’s what the new generation is interested in. Because in fusion, the heart, the soul, that bhav(feel), is the same. It’s just some of the outer structures that they use that are modern. And that’s the way in which Papon and a lot of other people are working as well…  

Have you seen any of the concerts at Jodhpur Riff?

I missed two or three. I had heard of yesterday’s evening show with Babunath Jogi… I was interested in that. I want to do something with him actually. I liked yesterday’s Scottish and Rajasthani fusion which they were trying to do. But there’s just one thing. Yesterday I felt the Scottish… Yeh nahin dikhna chahiye ki un logone Rajasthani ko ‘chance diya’. Aur aap oopar hain, aur Rajasthani music ko sirf aap ne ‘use’ kiya. Ya toh baraabar ho. Yeh feel nahin honi chahiye ki ‘un logone humein guide kiya’. (It shouldn’t seem as if they are giving the Rajasthanis ‘an opportunity’. And that they’re above them, but are simply ‘using’ Rajasthani music. They should be equal. It shouldn’t seem as if one group in a collaboration is ‘guiding’ the other). But then again, from Rajasthani or Indian music itself we need music directors and composers to come up and guide the Rajasthani folk musicians and use elements of their music in their compositions. Baat ek hi hai, lekin dekhne mein thoda alag hai (It seems like the same thing—whether the folk musicians are guided, or whether their music is imbibed, by an Indian or foreign musician—but when put together one combination seems a little different from the other). I have a bit of a problem with the former (foreign musicians guiding the Rajasthani folk musicians), perhaps because those musicians come from a completely different ethos. Then I have heard about this girl from Reunion…  

Maya Kamaty…

Yes she was really good. I missed her performance and Manu Chao, I missed it, though everyone was talking about it. I also really like the ambience of the festival in the morning. You don’t see it anywhere else, in any other music festival to this extent: the idea of music with nature (during Jodhpur Riff’s dawn concerts). It gets you to try to know yourself. You find yourself. This is (Jodhpur) Riff’s specialty.  

Have any of the artists or their music interested you?

Are there any others you would like to collaborate with, besides Babunath Jogi, at the festival?

Lots. There are many that I haven’t explored. I’ve done a lot of work with Trilok Gurtu, he’s a well-known percussionist. And he’s like a mathematical musician.  

You’ve done Massical (Gurtu and Patowary’s music project which involves classical music but aims to integrate all kinds of music in order to reach a ‘mass’ audience) with him.

And I’ve done a lot of shows with him. And after working with him I realized I don’t understand anything. I mean, on one hand I’m singing and on the other I’ve got to keep counting beats. I’d like to, at some point, come here with Trilokji, do something with him. But right now I’m having fun doing everything. I’d like to sing some Assamese songs here as well…

What kind of music do you feel would blend well with Bhojpuri or/and Assamese music?

African and Bihu. Actually all Assamese music, African music would go very well with. There’s been a lot of greenery in both Assam and Africa, so the traditional music that stems from life in the forests in these regions may go well together. The African drum beats— you find a lot of such elements in Assamese music.  

You have already worked with Rajasthani artists on Coke Studio. What did you learn from that collaboration? Were there any challenges you faced as a singer, in integrating the Assamese, Rajasthani and Western forms?

When I was singing Baisara Beera it felt like Bhojpuri singing, nothing different. It was live-singing in the studio, so, four times, I had to sing this song live. That was a challenge, to see if you were getting the sur(tone) right. But I enjoyed everything else. I want to do Bhojpuri next time I do Coke Studio.  

For Trilok Gurtu’s album you worked separately from the other artists (she recorded in Mumbai). What was the difference between that experience and recording in the same space? How is that, for you, different from live collaborations at a concert, like in Jodhpur Riff?

It will definitely be different. There’s a technical problem when you record live, because you’re recording everything together. Everyone’s miked together. There can be leakage from one to another. If I want to increase the volume of the chorus, then with that the volume of two other musicians, for instance, will also be increased. Those are the technicalities, but everything else is fine. In fact, after a rehearsal, when everyone is playing together, then the ‘soul’ is stronger, that bhav (feel) is stronger. In a duet which I’m recording currently, I’ll sing and then (singer) Udit Narayanji will sing, but there seems to be no real connection between the two voices because we’ve recorded our parts separately. When you’re singing and listening at the same time, when you’re recording together, there is a connect. That’s one drawback (of recording separately), but then again it’s so convenient, to record that way…  

Apart from Bhikari Thakur, what other Assamese or Bhojpuri folk singers do you wish to explore? Also, what role might a festival like Jodhpur Riff play in Bihar or Assam— in promoting the folk music there?

In Bihar there are situations that I still don’t understand. If something like this was done there I don’t know what kinds of problems we’d face. There’s still a lot of casteism there, for instance, especially politically. So the government there needs to understand that it is important for a festival like this to take place. In Assam, of course, it will help a lot. There is a lot of talent in the entire North East.

Actually, now, I’m working on a project called Sacred Scriptures of Monikut. Just like the Bhakti Movement happened all over India, like there was Guru Nanak and Chaitanya Mahaprabhu, in Assam Mahapurush Srimanta  Sankardeva and Madhavdeva spearheaded a similar movement. But people don’t know about them. For this movement they made a lot of music. We call it Kirtan Ghoxa and Borgeet. There are many spiritual songs there and I want to take them in a different direction. These things could happen so easily if there was something like (Jodhpur) Riff there. Jodhpur Riff is quite different, even from other festivals in the country. There should be one in Assam, there should be that vision.  

Sourcs#  RiffDiaries by Alissa Lobo

(Image: Kalpana Patowary performs on stage at Jodhpur Riff. Kavi Bhansali/JodhpurRiff)

All Asia VIMA Music Awards 2013 | Baisara Beera nominated in Best Pop Song category.

Papon & Kalpana in Mtv Coke Studio.
Guess who is on the final nominees list for All Asia VIMA Music Awards. Baisara Beera – Papon & Kalpana Patowary Coke Studio at MTV has been nominated in BEST POP SONG category in All Asia VIMA Music Awards spanning India, Pakistan and Sri Lanka. It is awesome to be mentioned in the space along with insanely talented artists all across these 3 countries. Check this out@ http://bitemymusic.com/vima-indias-final-nominees-list/ 


Baisara Beera by Papon & Kalpana Patowary - a unique combination using Rajasthani & Assamese folk songs@http://www.youtube.com/watch?v=Tq-RRb9MqDs

Sunday, January 5, 2014

Gandi Baat | Film R...Rajkumar | Sung by Kalpana Patowary & Mika Singh.

     
               
                                       
For those who could not catch up - Kalpana Patowary's latest song Gandi Baat with Mika Singh from film             R Rajkumar. Released on 6th December 2013 - Music by Pritam. 

                                                                Gandi Baat Lyrics

                                                     Beedi peeke nukkad pe wait tera kiya re
Khali-peeli 18 cup chai bhi toh piya re (x3)

Raja beta banke maine jab sharafat dikhayi
Tune bola 'hatt mawaali' bhaav nahi diya re

ABCD padhli bohot
Thandi aahein bhar li bohot
Acchi baatein kar li bohot
Ab karunga tere saath

Gandi baat...
Gandi-gandi gandi gandi gandi baat.. (x4)

Aise kyun kyun kyun
Karta tu tu tu
Munh pe thu thu thu pyar me
Jab se hu hu hu
Laila ki ki ki
Into to to to pyar me

Aise kyun kyun kyun
Karti tu tu tu
Munh pe thu thu thu pyaar me
Jab se hu hu hu
Majnu ka ka ka
Into to to to pyar me

ABCD padhali bohot
Thandi aahein bhar li bohot
Acchi baatein karli bohot
Ab karungi tere saath

Gandi baat...
Gandi gandi gandi gandi gandi baat.. (x4)

Gul-badan dan dan
Deal done done done
One Two One One One ho gaya

Muh se kya kya kya
Bol na na na..
Mann to mann mann mann ho gaya

Dikhne mein thi tu kadak
Dheere dheere pighli bahut
Acchi baatein karli bahut
Ab karunga tere saath

Gandi baat...
Gandi gandi gandi gandi gandi baat.. (x4)


Thursday, January 2, 2014

North-East Festival 2013 | Indira Gandhi National Centre for the Arts (IGNCA) | New Delhi.


Had a great musical evening at North East Festival, Indira Gandhi National Centre for the Arts, Janpath, New Delhi. Enjoyed a lot as the 8 north eastern sister states came under one roof with their fashion, food, culture, beautiful artists and yes good music too. Will be a memory for long.

Saturday, December 28, 2013

Ugratara Sanskritik Mahotsav 2013 | Mahishi Saharsa | Organized by Deptt. of Tourism, Bihar.





Kalpana Patowary set to promote Bhojpuri folk music in Sri Ugratara Sanskritik Mahotsav 2013 , Mahishi Saharsa - organized by Deptt. of Tourism, Bihar.

"Shri Ugratara Sanskritik Mahotsav" is an annual function organized by Tourism Department of Bihar in the divine, cultured and archeologically  important land of Ugratara and Bharti and Mandan in Mahishi , Saharsa.  

The Mahotsav first celebrated in Year 2012 on 17th and 18th October and is now in calender of Deptt. of Tourism for annual celebration.  Famous singer KalpanaPatowary from Mumbai started her performance late in evening with her  famous number “Jekar nath bholenath…………. ”after addressing everyone  in local maithili language and Ganesh vandana.
Mahishi

The magical moment of the stage was presentation of rich Bhojpuri folk Bideshiya & Nautanki of Late   Bhikhari Thakur often called “The Shakespear of Bhojpuri” by one of his fellow troop member 105 yrs. old Sri Ramagya Ram and his team along  with Kalpana Patowary. People even from remote places were stationed till the end of programme around 2 O’clock and hardly there was any space left in ground which has capacity of more than 10 thousand people.

The singer said, something unusual happened on 6th October,in Mahishi…Saharsa,UGRATARA MAHOTSAV,Bihar Tourism.Near about a lakh people…it’s not uncommon for me in Uttar pradesh and Bihar..People go crazy. And local administration had to show some aggression. Its normal for me coz it’s been now 12 years witnessing the same situation now and then…but then something happened that is and will be memorable for me…it was heavenly and blissful when the 105 years old RAMAGYA RAM JI entered with his local country troop..and I was there besides him sharing my vocal renditions…BHIKHARI THAKUR is not physically present today. But that particular night I felt as if he himself was present, as if he relieved that moment through RAMAGYA JI.RAMAGYA JI himself was a strong member from BHIKHARI THAKUR NARTAK MANDALI.We started with the song’ e more gangaji’..from GANGASNAN…then raamlilagaan and NETUA with pakhawaj..ahha…as if MAA UGRATARA’S aura felt. Energy vibrated!!!
                


To see the details of Mahotsav, you may visit http://usm.mahishi.org/


Friday, December 27, 2013

8th Bhojpuri Film Awards 2013 Lucknow,Uttar Pradesh | Kalpana Patowary wins the Best Bhojpuri Female Playback Singer Award.


MUMBAI : Kalpana Patowary wins the 8th Bhojpuri Film Awards 2013, Lucknow, for Best Bhojpuri female playback singer for the song “Chhathi Mai Ke”  film Nagin directed by Raj Kumar Pandey, music  by Rajesh – Rajnish and lyrics by Pyarelal Yadav, Bipin Bahaar with star cast of Khesari Lal, Monalisa, Rani Chatterjee.


The awards held in Lucknow on 16th Nov 2013 is constituted by the Bhojpuri Film and TV Welfare Association which began in 2005 aimed at felicitating those artistes who had contributed to the Bhojpuri films in various categories like Best Actor, Best Actress, Best Film, Best Director, Best Singer.

This is Kalpana Patowary’s another award in the Best Bhojpuri playback singer category in Bhojpuri Film Award. She won this award in 2008 in the - 3rd Bhojpuri film award held in Goregoan Sports complex, Andheri, Mumbai.Her Bhojpuri chhath song "Saiya Chali Aawa Karat Bani Chhath" from album "Aage Bilaiyya Peechhe Chhati Maiya" was also nominated as the Best song in folk Category in Big star IMA Awards - 11 March 2011, Mumbai.

"Totally unexpected," comes the dulcet voice over the phone when Kalpana Patowary is congratulated for winning the award. 2013 is a year of celebration for me.”The Legacy of Bhikhari Thakur” released from a London based music label EMI/Virgin Records is nominated this year in the BestFolkAlbum category in Global Indian Music Academy Awards (GIMA 2013) and I never thought I would get an award for a Chhath song. I must thank director Rajkumar Pandey for giving me such a lovely song and helping me do justice to it," Kalpana says, I wish all films wouldn’t need item songs to sell’ I wish women in films would have better roles than just item dancers and ordinary lovers to play. I agree that it is changing with films like Pyar Mohabbat Zindabad, directed,lyrics & music by Vinay Bihari.

Kalpana is a household name in UP-Bihar and this award has made her the queen of charts in Bhojpuri music. Language is no barrier for this 36-year-old who has sung in Hindi, Tamil, Marathi, Kannada, Telugu, Tamil and Malayalam in addition to her mother tongue, Assamese. What is special is the way Kalpana manages to get the right enunciation and expression in all the languages.

"Oh, I have a special way of writing the lyrics when it is dictated to me. No matter what the language of the song, even if it is Assamese, I write it in Hindi. I have certain notations and markings to indicate the way it should be pronounced. I feel the Devanagari script is the closest to the phonetics of the language. English alphabets are not very good for that purpose. Moreover, I listen carefully and try to grasp as much as possible when the lyrics are read to me," she says. Kalpana adds that she also requests the music director or the person in charge of the recording to explain the situation in which the song is sung. That, she feels, is what helps her give each song of hers that punch and evocative way of rendering. "They explain the way the antara or the mukhda would be shot and the scenes for which the song would be played," says Kalpana.

After having worked with almost all the top directors in Bhojpuri world, Kalpana feels that the chance of working with such a wide range of directors is one of the biggest advantages of being a playback singer.

A special judge in almost all the prestigious talent hunts series of Mahua Tv ie (Sur Sangram 1, Sur Sangram 2, Nehle Pe Dehla, Suron Ka Maha Sangram and Sur Sangram 3), Kalpana avers that such shows have given many a talented singer a platform to showcase their talent and to capture the imagination of a global audience.

"These shows have opened a world of opportunities for so many singers. Somewhere, someone might be listening and give the singer the right break. Earlier, they used to be a big gap between the top rung singers and the others. It was not because they were less talented; it was just luck. But now the gap has narrowed thanks to reality shows. Many of the singers who have come up through the shows are busy singers who earn well and are stars in their own right," she says.

Kalpana couldn’t be present at the awards show, but she sent across a message in which she thanked all who made it possible.


Heartiest congratulations to Kalpana Patowary & HAPPY NEW YEAR 2014.





Wednesday, December 25, 2013

Bhikhari Thakur's 126th Birth Anniversary | Top 50 Most Revolutionary Artists of the Past 100 Years.

  
  

         
Channar from Bhikhari Thakur's mandali
Bhikhari Thakur's 126th Birth Anniversary
Bhikhari Thakur's 126th Birth Anniversary
DM of Chapra, Bihar


‘The Legacy of Bhikhari Thakur continues……’


Kalpana Patowary an Assamese by birth, a stalwart in the annals of India’s cultural heritage brings a revolutionary twist in the Bhojpuri music scenario. It’s unbelievable right? But yes it’s true, she hails from Assam, she and her forefathers do not have any connections to UP – Bihar.Yet today, when one thinks of Bhojpuri music world, be it film music or traditional non-film one, you have to take Kalpana Patowary’s name as if she is The Bhojpuria Musical Ambassador.
Rakesh Thakur,Grandson of Bhikhari Thakur

“The Legacy of Bhikhari Thakur” is the latest proof that she expels. Bhikhari Thakur – the Shakespeare of Bhojpuri Literature – was never explored in long 100 years’ time – Nor even the native artists ever think of it. Why?????

Well that’s a complete different story which we need to think. But after a decade someone comes from Assam to recognize his true artistic spirit. Wow! a salute you deserve Kalpana.

When asked, she says, “being from Assam late Dr Bhupen Hazarika is someone whom I adore as my musical school, an inspiration, a musical artists whose contributions went beyond mere entertainment and actually altered the art form, the business or the technology of popular music. Bhupen Hazarika is not only a singer but a revolutionary figure, a social observer – how can we forget – Ganga bahti ho kyon! He is not a mere singer, composer or lyricist. From river Brahmaputra – Ganga to Missisipi – Nelson Mandela – he sang, he expressed his thoughts. I am here to follow his footsteps.When Bhojpuri happened to me professionally I sang every lyricists thoughts,every music directors notations. But one fine day when I thought of who is the Dr Bhupen Hazarika of Bhojpuri world…..I got to know about this illiterate barber  Bhikhari Thakur who carries the same spirit, same pain, same concern for his people like Dr Bhupen Hazarika.

Rakesh Thakur,Grandson of Bhikhari Thakur
In the early 1990s, Bhikhari Thakur was the mumbled voice of revolution. Amongst all the upheavals, all the excitement and tragedy of that discordant decade, what Bhikhari Thakur said was heartening and poetic, and it made great sense to young people. His literature, his bold movement to revolt through his songs was marvelous. He has always been so much a bard of contemporaneous events; he is also, unequivocally a poet and lyricist whose vision has always been uncompromisingly humanistic and intimately associated with several of the region’s movements, he is a bard with a social conscience, a troubadour who mirrors society. But there is also anger in many of his songs of this genre, a deep and genuine anger against social injustices. The people of Bihar should sing his songs as weapon when there is a necessity to change or revolution within the society. He should also be considered as Top 50 Most Revolutionary Artists of the Past 100 Years.

Bhikhari Thakur’s literature & songs should become a part and parcel of Bhojpuri culture. The songs not only have a respect among all class of Bhojpuri society but also played a significance role in educating, awakening and informing them about their own identity.
Original Bhikhari Thakur Mandali

So, I decided to search and collect some of his art, his legacy must continue. After 3 years of research The Legacy of Bhikhari Thakur got complete.

Now today on 20th December 2013 The Legacy of Bhikhari Thakur came a long way. Here in Chapra, today I am here for The Legacy presentation. This is the 2nd time when I performed The Legacy. First it was in RIFF 2013, Jodhpur. Secondly on the 126th birth anniversary of the legend himself here in Chapra.This time Art & Culture Dept. Bihar Govt. took the initiative.