CHAPTER - II

BANJARA FOLK SONGS

The singing of some sort is almost universal. The folk song implies
the use of music and the music tradition varies greatly from one region to
another. Sometimes the words of a song are of little importance and seem to
be used primarily as support for music. In many places, folk songs are of
great importance and serve as excitement to a war or love or as a part of the
religious or secular ritual. In some preliterate groups, folk songs are used for
magic effects, to defeat enemies, to attract lovers or even to invoke the favor
of supernatural powers. The lyric folk song in one or the other form is found
almost everywhere, but this is not true of narrative singing. In major Western
and Asian civilizations, the narrative song has been important for a long time
and it has been cultivated and sustained by the most skilled singers.

Folk Song is one of the major forms of folk literature. It is a lyrical

and rhythmic song of a particular community or tribe. It is composed by
folks for entertainment, education, morality, reformation or even emotional
outlet. They are sung on various occasions like birth, weddings, festivals,
birth and death anniversaries and during agricultural work. There is scope for
improvisation and there is a little distinction between performer and
audience. It is transmitted through oral tradition from one generation to the
other. It becomes the sole responsibility of the new generation to learn and
preserve folk songs and folk culture. Due to globalization and modernization,
the young generation is being moved away from the folk literature of which
they are part and parcel. In spite of that, every tanda (dwelling place of
Banjaras) has a group of people who try to learn, memorize and retain folk
songs.

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 Folk songs are part and parcel of human life. For the better
understanding of folk songs, it is essential to consider folklorists’ views and
definitions of folk songs.

Maria Leech in Standard Dictionary of Folklore, Mythology, and

Legend defines a folk song as, "a musical song of a community whose
literature is oral and unwritten” (1032).

According to Encyclopedia Britannica Part IX, the folk song means,

“an ancient spontaneous music” (447).

P. B. Mande in ‘Loksahityache Swarup’ has quoted the definitions of folk

song as follows:

According to Devendra Satyarthi, “Folk songs have roots in the music

of a group or community” (234).

In the opinion of K.B. Das, “Folksong is an expression of people who

lead the life in primitive conditions" (loc. cit).

According to Vasudevsharan Agarwal, “folk song is the portrait of the

culture of a particular community” Loc. cit).

Dr. Sunil Rathod in Banjara Jamat: Lokjeevan Aani Lokgeete quotes the
definitions of folk song as follows:

In the opinion of V. Williams, “Folk song is neither new nor old. Like
trees, its roots are deeply rooted in the past but it has relevance in the present
too" (101).

According to V.K.Rajwade,” folk songs are composed when a group

of people come together on a specific occasion. So the credit of composing
folk songs cannot be given to a single person but it goes to a group of
people” (Ibid. 103).

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 In the opinion of Tejnarayan Lal, “Folk song is the history of the
development of human history (loc.cit).

According to Shri Kunjbihari Das,"A folk song is the spontaneous

overflow of life of people that live in more or less primitive condition which
is outside the sphere of sophisticated influence” ( loc. cit).

In the opinion of Dr. N. G. Nandapurkar,” A song composed by

people in their language and that is part of peoples’ culture is folk literature.
Folk song is an aspect of folk literature” (loc. cit).

Alexander Krappe in the book The Science of Folklore says “The folk
song is a song i.e. a lyric poem with a melody which is originated
anonymously, among unlettered folk in times past and which remained in
currency for a considerable time, as a rule for centuries” (153).

Dr. Keshav Phalke in the book Banjara Loksahitya has quoted the following
definitions of Folk Songs:

According to Greem “A Folk song composes itself” (104).

In the opinion of Parry, “Folk song is the spontaneous music of

primitive man” (loc. cit).

According to Dr. Sadashiv Phadke, “Folk song is the well-rhymed

song of people who compose it during moments of joy without caring for
scientific rules of composing it” (loc. cit).

According to Kunjbihari Das “Folk song is the natural expression of

the people who are aloof from civilized people in more or less extent”
(loc.cit).

In the opinion of Devendra Satyarthi “Folk song originates from

communal music” (Loc.cit).

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 Dr. Manohar Sharma in the book, Loksahitya Ki Sanskritik
Parampara defines a folk song as "Folk song is the song of the heart. It
encompasses not only the feeling of a single person but of the whole
community (59).

According to M. H. Abrams, “Folk songs include love songs,

Christmas carols, work songs, sea chanties, religious songs, drinking songs,
children’s game-songs, and many other types, in addition to their most
important form, the narrative song, or traditional ballad (66).

From the definitions above, the characteristics of folk songs can be

considered as follows:

a) Folk song is a ballad.

b) Its origin is in the group of people.

c) Its creator is unknown or unfamiliar.

d) It is orally transmitted from one generation to the next.

e) Primitiveness is an important aspect of folk songs.

f) Folk culture reflects through folk songs.

g) Folk songs are a great source for understanding the history of

human development.

h) Music is the soul of folk songs.

i) Folk songs are not artificial.

j) There is a harmony between labor and folk songs.

k) Folk songs help to understand customs and traditions of a

particular community.

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Banjara Folk Songs

Folk songs are an integral part of Banjara people. The songs depict the
distinct culture and language that they have preserved from the ages. Banjara
community is entirely different from other nomadic tribes in India. The
feelings and experiences that they express through songs are poetic in nature.
They express joy as well as sorrow through songs. The beauty, experience,
and sentimentalism in folk songs fascinate the listeners. There is spirit and
delicacy in the songs of the women. The mode of singing and dancing is
quite beautiful. Most of the time singing and dancing go hand in hand.

Banjara people sing different songs during all the stages of rituals
right from birth to death. They also sing about social traditions and festivals.
During festivals, they sing hymns, traditional songs and romantic songs
during wedding ceremonies. Being emotional by nature, Banjara women
compose songs according to the circumstances and mode. They dance and
sing spontaneously. They give way out to their joy and sorrow through
mournful songs. They sing songs during agricultural work like grinding corn,
thrashing, rocking the cradle, splitting wood, embroidery and other activities.
The songs give some sort of comfort to these hard-working people. The
listeners and watchers are entertained by the sweet songs and graceful
dances.

Through analysis and classification of folk songs, one understands the

way of life, faith, and practice of Banjara people.

Classification of Banjara Folk Songs

Banjara folk songs can be classified in a number of ways. They can be

classified on the basis of occasions as they are sung on various occasions like
rituals, festivals and agricultural work. They can also be classified according
to their function in social life. They are related to some tradition in the

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community. Classification of folk songs is essential for collection and
analysis. There is no doubt that there is diversity in folk songs and the beauty
of this diversity is the chief feature of folk songs. It is said that diversity in
humanity causes diversity in folk songs of any tribal community in India.
Flexibility in classification is necessary as the scope of folk literature is
wide. So there are many ways by which folk songs can be classified.

It is generally agreed that the first song is sung by a woman. It is also

found that comparatively, women's songs are more in number than men’s but
it does not mean that men do not give importance to songs. While analyzing
folk songs, one finds that the very soul of Banjara life lies in folk songs.
Banjara folk songs can be broadly classified as follows:

1) Ritual songs

2) Religious songs

3) Songs sung during physical work

Ritual Songs

The birth of a male child has a great importance in Banjara community.

Banjaras are the true followers of Hindu religion. Like Hindus, Banjaras
believe in a saying ‘A childless person has no salvation.’ Banjaras start
performing rituals prior to the birth of a child. In fact, the rituals start with
pregnancy and end with the death of a person. They are practiced at various
stages in life. These rituals may be classified as follows:

1. Birth

2. Wedding

3. Death

They have their own peculiarities in performing these rites and sing special
songs during these ceremonies.

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Songs about the Birth of a Child

The birth of a child is the very first ritual in human life. In Banjara
language, the words used for a pregnant woman are ’aashati cha, peteti cha
or di jiver cha’. A pregnant woman is fond of eating different things such as
mangoes, tamarind etc. This is known as’khaye piyen lago’. A pregnant
woman expresses her feelings to her friends through the following song.

Bai ye kaso kaso heroch mare jivdan

Bai kahin khan thambu mare jivdan

Aamlire saru jeev khichav jav bai

Aambare saru jeev khichav jaav bai

Patlyare aamrai maiti aamba tod lani bai

Khate khate saru jeev tarsav bai. (Song No. 1)

Meaning

In the pregnancy phase, physical changes take place in the life of a

woman. Banjara woman is not an exception to it. She likes to eat something
that has a sweet and sour taste. So she tells her friends that something
happens to her. But this ‘something’ is difficult to explain. She asks her
friends to go to the field and bring mangoes and tamarind for which she has
been longing for.

In Banjara community, a barren woman has no status and honor. A

birth ritual is celebrated with great joy in the community. In this context,
Bapurao Desai says, “This is the first ritual in human life. The rituals begin
as soon as the woman becomes pregnant. All the rituals performed during
nine months are considered as the rituals of birth” (S. Rathod 47).

Banjaras sing various songs on the birth of a child. They can be

further classified as follows:

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 1. Ekal poyer geed (song to celebrate the birth of a male child)

2. Jalawa Dhokayer geed (song sung after the birth of a child)

3. Palanem ghaler geed (cradle song)
4. Balalatta kader geed (the first hair clipping ceremony of a child)
5. Dhund geed (birthday celebration song)
Ekal Poyer Geed (Songs to celebrate the birth of a male child)
The Banjaras sing different songs during the celebration of rites and
rituals. Songs are sung to tease a pregnant woman with an intention to
entertain her. The elderly women of tanda sing songs in the form of
questions and answers to lessen the pangs of labor.
The birth of a male child is announced to all the people of tanda by
beating drums. Bronze plates used to be beaten on the birth of a female child.
After listening to the drum beating, the people of the tanda assemble at the
house and express their joy by dancing and drinking. Elderly women sing
playful songs for the better future of a child. One such song is as follows:
Sevabhaya jalamoye ghar hiyo vajalo
Bhagwan jalamoye ghar hiyo vajalo
Yadi bapuri ashisaye beta jalamoye
Dev dharmuri ashisaye beta jalamoye
Acha acha ghadiye surajya jalamoye
Chati matar ashisaye yadi chandari murat
Dhor nobat dhoraye chati badi ganjacha
Man baperi betare chadiven risatu

Sevabhayar ashis tonare beta

Bhagavaner ashis tonare beta. (Song No. 2)

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Meaning

Sevabhaya is the Saint of Banjaras. Banjaras believe that the birth of a

male child is the rebirth of Sevabhaya himself. In a sense, every child is the
incarnation of Saint Sevabhaya. The house is illuminated with the birth of a
child. The birth of a child is the result of good wishes of gods, goddesses,
parents, and Sevabhaya. May the Mother Earth, Sun, Moon and Saint
Sevabhaya bless the newborn child. Relatives and well-wishers wish the
child for his better future. They wish that the child should grow into a good
human being and be the supporter of his parents and society. It is also
observed how the Banjaras desire to have a child and their expectations
about the children. The metaphor, symbols, and rhythms used here are quite
meaningful. This song illustrates that the Banjaras have a rich faculty of
imagination and expression.

Jalawa Dhakano: (A song sung after the birth of a child)

This rite is performed either on the fifth or third day after a child’s
birth. This is called Jalawa Dhokayero. It means a mother has to take darshan
of goddess ‘fire’ (Agni devta) along with a child. This ritual is performed in
the house yard. On this occasion, the mother of a child prays to Goddess
Chatimata for the welfare of a newly born child.

Veyimata hansati var ayes

Suvo sutali len var aayes

Sui dora len par jayes

Veyimata balan sakh rakades. (Song No. 3)

Meaning

This song is in the form of a prayer. The prayer is to Goddess and

it expresses mother’s care and concern for the well-being of a child. The

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lines such as “Go thither with thread and needle, /Come hither with jute
thread” are used very significantly. Thread and needle are the very life-blood
of Banjara women and are the symbols of trading Banjaras. It means if a
female child is born to go that side crying and if a male child is born, come
here laughing. They think the birth of a female child is a lifetime concern.
She prays to Goddess to keep the child in prosperity.

Palanem Ghaler Geed (Cradle song):

The ritual of naming a child takes place on the twelfth day of birth.
The Banjara women put a child in the bamboo cradle, or a cradle shaped like
gunny bag and sing songs to worship Goddess Chatimata.

Halore bala halkodi

Mamare khetem chalkodi

Zadep beti chalkodi

Sojore bala zolim

Phul todu kholema. (Song No. 4)

Meaning

The song is addressed to a child whom the women want to make

sleep. Here the women say that there are sparrows on the trees in the field of
the maternal uncle. If the child sleeps, the women can collect flowers or do
some field work.

Bala Latta Kadayer Geed (The first hair clipping ceremony of a child)

The first hair clipping ceremony of a child is performed till the child
becomes 3 to 4 years old. In Banjara language, it is known as ’Javal Kadno’.
Banjaras give due importance to this ritual. It gives a new spirit to the life of
a child. It is carried out by chanting names of family goddesses like
Durgamata, Mariyamma, and Tulaja Bhavani. They offer sacrifices to all

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family gods and goddesses. The child is made to sit on the lap of the
maternal uncle. They worship Goddess by singing the following song.

Mari Tulaja Bhavani sayi vejo

Balaro ton latta chadaye mavali
Balaritu sayi vejoyeya
Andhi angolema mavali sayi vejo
Mari Tulaja yadi sayivejo. (Song No. 5)
Meaning

Goddess ‘Tulajabhavani’ is the ‘Kuldaivat’ (a family god or deity) of

Banjaras. The Goddess, Tulajabhavani is pleaded to protect a child in the
angry and tumultuous ocean as his hair is offered to her. The women pray
Goddess to give him long life and take care of his future and protect him.
She should be child’s guide and companion during hard times in life.

Dhund Geed (Birthday celebration song)

Banjaras perform ‘Dhund’ ceremony of a child on the day of Holi

festival. It is a birthday celebration. But this rite is not performed in every
family. It is the celebration of a male child only. The age of the child is
counted on the celebration of the birthday. The elderly people, youngsters,
and children bless the child by singing the following song. This song,
wishing good luck, is known as ‘Dhund Geed’.

Charik chariya champa dhol

Ju ju champa lerale
Tu-tu beta lera le
Aatra wore kaka dada
Aatra wore bhai band
Pelo beta nayaki kariye

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 Dusro beta karabhari kariye
Tisro beta khadu charaye
Chautho beta ghod charaye
Pachvo beta cheli charave
Chovo beta ma bap dekiye
Satvo beta hui supati
Shikach, shikavach hore-ho

Aavda viiyor aavda. (Song No.6)

Meaning

This song of blessing signifies how a child should grow and render
his service towards the Banjara community in particular and society in
general. It illustrates the social set up of the Banjaras. In the Banjara
community, Nayak (the chief of the Tanda) and Karbhari (Secretary) are
important persons. All the affairs of the Tanda are carried out by them.
Through this song, the role of each child is determined. The eldest son would
be the Naik (chief) of the tanda and the second son would be the executive
secretary of the tanda. The third son will look after cattle while the fourth
son will take care of horses. The fifth son will take care of goats and the
sixth son will have to look after parents. The last son will study and teach
others. Cattle breeding and trading was the main occupation of Banjaras.
According to Banjara custom, the moral duty of a son is to look after the
parents. The feelings of love and pride are expressed succinctly. The words
emerge rhythmically. This song is sung along with the striking of small
sticks according to the rhythm. There is a fine blending of emotion,
language, rhythm, and music. The birthday ritual is vividly described.

Banjara songs have literary and cultural significance. Due to

modernity, these rituals are slowly diminishing.

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Wedding Songs (Vayar Geed)

In Banjara language marriage is known as ‘Vaya'. The wedding is

celebrated with great joy and enthusiasm in Banjara tribe. Men as well
women dance and sing in groups. As the Banjaras were nomadic, they used
to fix and celebrate marriages wherever they met. There has been child
marriage system in this primitive community. Even now child marriages are
performed in the community. It is due to illiteracy and ignorance. In the old
days, the marriage ceremony in Banjara tribe used to be too long and tedious
lasting for a couple of weeks. After the marriage, the bridegroom had to
spend many months at his in law’s house. It was an ordeal of the bridegroom.
He was asked to do all types of work. If the family was happy with his
ability, then only the bride was sent with him.

But due to the impact of modernization and urbanization, nowadays

the weddings are compressed in a day or two. But still, there are some
families that celebrate weddings in a traditional way. Earlier Banjara
marriages were celebrated during the night. They have their own elaborate
customs that are being observed for generations. There has been a dowry
system prevalent among Banjaras right from the beginning. In ancient times,
there was a practice of giving young oxen in the form of dowry but now it is
given in the form of cash and gold. Banjara women and girls keep on singing
songs in the chorus at several stages of the marriage ceremony. During
marriages, the bride (Navleri) is taught ‘Dhavalo’ or a weeping in a
systematic tone. A bride used to express utter sorrow as she had to take leave
of her parents, relatives, kith and kin and the people of the tanda.

The songs sung during the marriage may be classified as the songs
concerning the bride and bridegroom. The songs concerning bridegroom may
be sub-classified as follows:

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 1. Sagayi or Kansaloi ( fixation of marriage)

2. Vadayir Kadi (Song of baptism)

3. Vetadun valayer geed (Song about bidding farewell to

bridegroom)

Sagayi or Kan Saloi (Fixation of marriage)

In Banjara language engagement is called as ‘Kan Saloi’ The word

‘kan saloi’ comes from another word ‘kan samlai’ which means the news of
the engagement is to be exposed to all. In old days, the Banjaras used to
come together for engagement in the garden of mangoes, bananas, coconut
or tamarind. Following is a song in this context:

Kelare bagem kidere sagai

Ambare bagem khadere mithai

Mosambire bagem kider sagai

Amlire bagem khader saloi

Narlere bagem kider sagai

Narangire bagem khadere ghee poli. (Song No. 7)

Meaning

The marriage has been fixed in the garden of bananas. They ate
sweets (jaggery) in the garden of mangoes. Again they fixed another
wedding in the garden of oranges and ate ‘saloi’ (nonvegetarian food item) in
the garden of tamarind. In this way Banjaras used to fix marriages of their
children in the lap of nature. They also enjoyed ghee-poli (a special sweet
dish) in the garden of narangi. The song expresses the age-old tradition of
engagement in Banjara community.

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 At present when a girl is to be engaged to a certain youth, the parents
of the boy and one or two elders go to the house of the girl to be engaged.
The Naik, Karbhari and elderly people of the tanda are requested to come to
the house of the girl. When the parents of the girl agree to give their daughter
to the boy, the Naik and others assembled there decide by asking both the
parties, when the marriage is to be celebrated and in what form the ‘karrar
money' or ‘bride price or dowry’ should be paid. After this everybody in the
tanda comes to know that such and such a girl is engaged to so and so boy.
When they come together, they ask about one another in the following way.
One of the elderly persons recites the song as follows. It is known as ‘kaslat’
in Banjara language.

Panch panchyat raja Bhojer sabha

Panchare lakh, anpachare sava lakh

Sag-Sagayi parakan kide, kide doyi bat

Upar kanta paramal mare

Mayi beto dudalor nayak

Doyi ghoder kan barobarar nayak

Aang khade khana, lar khade khobara

Doyim rach mitor nayak

Von toon madoyi khan rajeer nayak. (Song No. 8)

Meaning

This assembly is like the assembly of king Raja Bhoj which exceeds
lakhs of people. The engagement is carried out after thorough examination
and discussion. There is a fruit in the center of thorns. O! Chief, the ears of
two horses are of equal size. We did enjoy the sweet dish in the past and in
future too we would enjoy the same sweetness. We are two relatives; one is

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a wooden ladder while the other is a leather ladder. The wooden ladder will
break into pieces but the leather ladder will remain forever. O! Chief, it rains
and there is flora and fauna everywhere. This ‘kaslat’ practice among
Banjaras has got its own importance from the social and religious point of
view. The relationship of kith and kin is not an entertainment, but it binds
two families for further growth and development that is a life-long harmony.
After negotiation, jaggery is distributed to all who are present for the
function. This is known as ‘Golkhayero’, which means ‘eating of jaggery.’
Before departure, someone from bride’s side expresses gratitude towards
people from bridegroom’s side in the following way:

Dungar the jab dur the, ab ho gai pahchan

Ta ki lagi prem ki, hira napje, khan

Saga aisa kijiy, jaisa resham sut

Ulze par sulze nahi, gant pade majbut

Soneri thali, na rupe jaisi bati

Sagati saga malge, shital vegi chati

Milna bhala, bichadna bura, bichdo mat koy

Sasna, ramna, khelna, ram kare so hoy. (Song No.9)

Meaning

Before the engagement, they (the parents of a boy and a girl engaged)
were unknown but now they are familiar with each other. It means that it
brings together not only a boy and a girl but also two families. One should
choose the relative as soft as silk. Whenever the relatives meet, they should
feel happy and content. It is always good to meet but very bad to depart.
Laugh, play and be merry because whatever is going to take place, it is
according to God’s wish.

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Sadi Talno or Ghota Kadno

Generally, Banjara marriage rites start and end at the bridegroom’s

house. Before leaving for the wedding to bride's house, the bridegroom has
to feed all the people of the tanda. This program is known as ‘Sadi Tanero’.
Before that the ritual ‘Ghota Kadno’ is performed at bridegroom’s house.
This is the first ritual of the wedding. It is performed late in the night. During
this ritual comic and satirical songs are sung. One such song is as follows:

O! chadlare kundema kaliy tali

O! vetduri bhenen lego budo dhadi

Kachi pakiy sapari sendapar

O vetduri bhen beti indapar

Kachi paki ye sapari heteti, vo vetduri bhen peteti. (Song No.10)

Meaning

During wedding on many occasions, the women from both the sides
tease each other through songs. Many times they sing simultaneously. It
becomes difficult to understand who is singing what. The above one is such a
song. It is sung by the women from bride’s side to tease the bridegroom’s
sisters. They say that there is sesame seed in a mortar and the bridegroom's
sister has been kidnapped by an old bard. There is raw betel nut on the top of
a tree and the sister of the bridegroom is pregnant. There is also rhyme
scheme in this song.

Vadayir Kadi

This rite is performed at the bridegroom’s house prior to proceeding

to the bride's house for the wedding. In the Banjara language, the word
‘Vadayi’ means to grow. The child has grown up and he requires permission
to enter married life. Permission is granted through this ritual. The rite was

49
also observed when the people of other communities were converted into
Banjaras. The leader of the tanda or a priest will brand a mark with the
needle on the right shoulder of the bridegroom and utters Guru Mantra
(Divine word) into the ears of the bridegroom. The mantra is as follows:

Koli aav koli jav

Koli mai jag samav

Dholo ghodo hanslo

Pataliya asavar

Munge avada mogara

Thali avada ban

Maiz pooja, maiz pati

Maiz poojan har

Guru baba sada jan. (Song No. 11)

Meaning

O! Son, your way is full of hindrances. Many people are born here
and have disappeared. You have the blessings of Baba so that you would be
successful in life. Ride on a white horse through this valley of life and
always think of Baba. He is only who can protect you. The name of Guru is
quite essential for understanding the mysterious power of the world and
salvation from this material world. The words koli, dholo, ghodo provide
rhythm and add beauty to the song.

Vetadun Valayer Geed: (Bidding farewell to bridegroom)

It is the time to see off the bridegroom. In Banjara language this is

known as ‘kotlo bhar kadero’. Many men, as well as women, come together
for this ritual. The bridegroom is sent to the wedding with his bosom friend

50
and a few wise people of the tanda. The closest friend of the bridegroom is
known as ‘leriya'. The leriya has to speak on behalf of the bridegroom and he
has to handle all situations on the basis of his earlier experiences. On this
occasion the women sing various songs. One such song is as follows:

Bagema khado bagema suto

Chale chalau ghodo bhidore ha

Yadiro hatko bapero hatko

Na manore palkiya

Gorire karan chalo re ha

Nagari ma khado, nagari ma pido

Nari re karan chod chalo re ha

Nangari jagayo sari rataye yadi

Angacha tar sasuro zular

Hat jod binti kar

Panchamelu Baman. (Song No. 12)

Meaning

The bridegroom ate and has spent a night in the garden. He has taken
the trained horse for going to bride’s house for marriage. He could not listen
even to his parents. He is born and brought up at this tanda but now he has
left it for the sake of his would be wife. He is advised to move forward and
salute everyone with politeness. It is a piece of advice given to him by
elderly women. This signifies that the bridegroom’s journey to the bride’s
house will be safe and he will return home safely after marriage. Then the
women from bride’s side tease the leriya, father, mother, sisters, and

51
relatives of the bridegroom through songs. The leriya has been satirized
through the following song:

Leriya aangholi kariya khaliya

Leriya dhoti vata lego saliya

Leriya leriya sapari pheriya

Leriyar khich lau dohi khariya. (Song No.13)

Meaning

The women ask the leriya (the bosom friend of bridegroom) to go to

some river for bath. His dhoti has been taken away by the fox. Leriya has to
give pan and betel nut to whoever demands. In this way the leriya has to bear
criticism silently.

Kotlo Gharema leno (Reception of bridegroom at home)

The bridegroom and the people who have accompanied with him
cannot enter the bride’s tanda directly. They have to be taken in the house
through proper custom. This is known as ‘kotlo gharema leno’. The
bridegroom and his companions have to wait for the people from bride’s side
to receive them. They wait at a little distance from the bride’s tanda. Then
the bride’s kith and kin, the chief of the tanda (Nayak), and men, women,
and children go to welcome and receive the bridegroom and others. They
meet and ask about one other. At this time the women from both the sides
sing songs to tease one other. The following is the song sung by women from
bride’s side. The song is addressed to the bridegroom directly.

Vetadu aayo vade vadeti

Wori bhenen meliyayo bhadeti

Vetduri bhene katriki cha?

52
 Do hat gai , do ghat gai

Do dhagdya lekar bhag gayi

Vetadu vayan aayo

Tari yadin ka koni layo. (Song No.14)

Meaning

The bridegroom has arrived at the bride’s place by unusual way. He

has allowed his sisters to misbehave and earn money. on rent. How many
sisters the bridegroom has/? He has four sisters and two have gone to market
and two have gone to ghat. They have eloped with their lovers. The
bridegroom has come to wedding but why has he not brought his mother
with him?

Ye jadhaver lok kasen aayech?

Woto rathoderi galli zaden aayech

Ye jadhaver lok kasen aayech

Wo to rathoderer bhanda ghasen aayech. (Song No. 15)

Meaning

The bridegroom is Jadhav and the bride is Rathod. Jadhav and Rathod
are the surnames in Banjara community. The women through this song ask
the people from bridegroom’s side why have they come here? They think
that they have come there to sweep the lane of Rathods’ and to wash their
vessels.

In the same way, the women from bridegroom's side ask the people to
receive them with honor through the following song.

Haam aache gharer sagasenl ra

Tam chhaya paniri tayari karor

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 Haam aache gharer sagasel ra

Tam palang ghaleri tayari karor

Haam aache gharer sagasel ra. (Song No. 16)

Meaning

The women from bridegroom’s side say that they belong to well to do
family. Therefore they (people from bride’s side) should get ready to offer
them water and tea. They should also keep ready cots for them to sit on.

In this way women go on singing songs till they get tired. But some
women are very fond of singing songs and they sing throughout night. The
people welcome the guests with honor and bring them towards the house of
the bride. Here this ritual comes to an end.

Songs about Bride

There are innumerable songs about bride. They are wittier than the
songs about bridegroom. Almost all the marriage rites are performed at the
bride’s house. The bride’s father has to bear expenditure of the wedding
ceremony. The kith and kin of bride sing songs on this occasion. They may
be identified as follows:

1. Tiker geed (song about putting a vermilion mark on the forehead of a

bride)

2. Haladi geed (song about washing with turmeric)

3. Hangolir geed (oil bath)

4. Sat pherar geed (song about going round the holy fire with seven
steps)

5. Dhavalo : Farewell song (sorrowful song)

6. Haveli geed (farewell song)

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 Various marriage rituals are performed after the arrival of bridegroom
at bride’s house. They are Vakeldi dhokayero (saluting dung hill), Dorano
bhandero (tying mangal sutra around the neck of a bride), Mand ramero (a
dice game), Chudo tipero (bangle wearing ceremony) and Tangadi bhar
kadero (exhibiting jewellery box of bride).

The bridegroom arrives at the bride’s house for marriage a day before.
The bride realizes that she cannot escape from wedding now. She expresses
her inner feelings through the following song:

Ye ba kalo kund nir bharo ba

Ye ba wom phandi nani moti machali yo ba

Ye ba wom feko zimbrayro jal

Ye ba ju tari beti fandai yo ba

Ye ba kalen vavreri sarali bamboli ba

Ye ba won lage kale pile phul ye ba

Ye ba phul karmau ju tari beti karmai ba. (Song No. 17)

Meaning

The above song is in the form of an address. A bride is addressing the

song to her father. The song is full of similes. The bride compares herself
with fish and flowers. She says a small lake is full of water and there are
many small and big fish in it. A fisherman has thrown a net in the lake to trap
fish. In the same way, she has been trapped in a net from which she cannot
escape. She compares herself to the fish. Further, she says that there is a very
straight babool tree in the field that bears yellow and black flowers. She will
be lifeless like those yellow flowers after marriage. It means that she will
have no freedom after marriage.

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Tiker Geed: (Song about putting vermilion mark on forehead)

This ritual takes place early in the morning on the day of wedding. It
is carried out by the brothers of bride. The brother(s) puts vermilion mark on
the forehead of the bride and bridegroom. The women keep on singing
songs. The bride begs her brothers not to put vermilion mark on her
forehead. Though she is anxious to enter a new life, she is scared of it. The
following song expresses her inner agony:

Aater janjale mayi kajaye ghalelagi bhavajoye ahinya

Mataje kado bhavajoye mareje

Yadire hatero latilatayi garatani ahinya

Mataje kado bhavajoye mareje

Javanuvure hateri pani panayi lattari gutani ahinya

Sereri serayi topali ahinya. (Song No. 18)

Meaning

The bride asks her maiden friends not to push her into this confusion
of wedding. Here she is in a state of confusion. She pleads them not to snatch
away anklets of black beads prepared by her mother for her. In the same
way, they should not venture to spoil the braided beautiful earrings made by
her mother and beautiful clothes given by her father. She realizes that she
cannot escape from marriage now.

Here one finds bride’s sorrow flowing throughout the song. This
pitiful song melts the hearts of listeners. Her words of sigh ‘Ahinya’ express
the depth of sorrow. The words are in tune with sentiments. A bride ought to
imagine and enjoy beautiful life in the ivory towers of her imagination. But
the Banjara bride expresses her severe pangs of separation. This is a unique

56
trait of Banjara culture. The songs about pasting henna, wearing bangles and
dressing have the same tune, but the theme varies.

Haldir Geet (Song about applying turmeric to bride)

Turmeric powder is applied to bride and bridegroom three times

during wedding. A bride pleads her parents, brothers, sisters, and relatives
not to apply turmeric on her body. In fact, she does not want to leave her
family members, relatives, and friends all of a sudden. She expresses her
emotions weeping through this song:

Mat je ghaso re virenla, par ghareri par jateri haldiro tiko

Aapne baperi chakari kariyoto, shabasi maliye virenla

Lali lowdiro kholo mandu, dasi aangliro hath jodu

Mat lagado haldiro tiko

Tamare haten sava lakheri angati kabul karu

Limbej chandneri hiye to latko dhab den chadu. (Song. No. 19)

Meaning

This ritual is carried forward with the permission of bride’s brothers.

The bride pleads her brothers not to apply turmeric to her body as it is
brought from unknown house and clan. She does not accept even things
brought from bridegroom's house. So there is no question of accepting
unfamiliar people. It also shows her attachment to the family. She says that
she would give rings for all the fingers of brothers but don’t put turmeric
mark on her forehead. It also shows her affection for her father, mother,
sisters, and brothers. This occasion is very emotional. All the family
members give way out to feelings through weeping.

There are a number of songs about this ritual. All the songs are sung
by women in groups. Some more songs are as follows:

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 Bai tari haldi savangi disach ye aaj

Ladki tari dadi rovach ye aaj

Ladki ton haldi savangi shobhach ye aaj

Ladki taro lakhopati dada rovach ye aaj. (Song No. 20)

Meaning

The women address this song to the bride. They say that today is her
wedding and not only the bride but also the turmeric powder appears to be
beautiful. The grandmother of the bride expresses her sorrow for the niece.
They also say that her grandfather is a rich man but he also cannot control
himself from weeping. In fact, all the family members weep on this occasion.

One such song is:

Haldi lageduni kach ye najukeri nar

Wori haldi lagem gujar gai rat

Mendi lageduni kach ye najukeri nar

Wori mendi kadem gujar gai rat

Mandal bhareduni kach ye najukeri nar

Wori mandal bharem gujar gai raat. (Song No. 21)

Meaning

The above song is sung by women but the feelings expressed in it are
that of a bride. In the beginning, the beautiful and delicate bride does not like
to apply turmeric powder and henna and a lot of time is wasted in convincing
her. It means that the bride does not like to lose her carefree maiden life.
Even she might be worried about married life. In fact, she does not resist but
her protest is expressed through the song:

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 Haldi lagal ye ladi tu khul jayachi

Yeki haldim yadi baap bhul jayechi

Mehandi lagal ye ladi tu khul jayachi

Yeki mehandim dada dadi bhul jayechi

Haldi lagal ye ladi tu khul jayechi

Yeki haldim kaka kaki bhul jayechi. (Song No.22)

Meaning

The women tell the bride that she would look more beautiful after
applying turmeric powder and henna on her body. They also say that she
would forget her father, mother, grandfather, grandmother, uncle, and aunt
only after the first application of turmeric powder and henna. Perhaps the
women speak out of their own experience. Indirectly they try to set her mind
to marriage. She would forget her family members in course of time and
become one with her would be husband.

Wedding Bath (Vayar Hangoli)

‘Wedding bath’ is one of the most important rituals of marriage. Both

the bride and bridegroom are given a public bath in the wedding pandal.
While giving bath the women keep on singing songs. At this time the bride’s
maiden dress and ornaments are removed by her friends and elderly women.
The bride sings the following song weeping:

Sathlo munga molari dam chukai

Gartali mat todo

Shereri sherai gartali mat todo

Mare kunware paneri shobha, man redo sathlo

Mat chodo mari husi bhavjeri hateri

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 Valasi patali mat chodo ha hinya

Mare virari hateri gartali mat todo ha hinya. (Song No. 23)

Meaning

The bride asks her friends not to remove the expensive ornaments
(gartali, patadi) from her body as they are token of a maiden. She also says
that her brother and sisters-in-law have bought these ornaments. Though
Banjaras lead life in utter poverty, they take very much care of their
daughters. They try to provide as much comfort as possible to their children.

After bath the ritual known as ‘Doran Bandhno’ is performed. In this

ritual white raw thread is tied round neck of bride as well as bridegroom.
According to Dr. Ganpat Rathod, “Doran means white raw thread is prepared
by making seven rounds around a water-pot from outside” (69). The song in
this context is:

Tare baper hateti banda dorlo

Ku chutiye lada banda dorno

Ku chutiye lada banda dorlo

Chodu kar, chodau kar. (Song No. 24)

Meaning

The song is addressed to a bridegroom. The dorlo is tied around his

neck by his father and it is very difficult to make it loose. He should go on
trying to lose it with the help of others.

Sat Pherar Geed (song about going round the holy fire with seven steps)

In Banjara community, the marriage ceremony is performed with

great enthusiasm in the presence of relatives, guests, and invitees. In Banjara
tribe the role of priest was played by a person belonging to ‘Vadtya Clan’. In

60
this context Dr. Ganpat Rathod says," There was a tradition that a Brahmin’s
role was played by the person of Vadtya clan. But in course of time, as the
Brahmins are easily available, the wedding ritual is carried by a Brahmin
only. Even now wherever the Brahmins are not available, the wedding ritual
is performed by a person of Vadtya clan" (71). In Banjara language, the
following mangalastak is sung at the time wedding:

Navleri vetadu tam doi

Jaso dharti aakashero ro

Nadi samundarero, milan vero ra

Ju tamaro aaj ek jeev veror

Aaj tam saat phera fartani

Sere mundiag, jalmer bandnema bandage

Mat bhulo samajer, seva karor

Manav jater, rashtrer

Kuryat sada mangalam savdhan. (Song No. 25)

Meaning

The union of bridegroom and bride is like that of the union of the
earth and the sky and the river and the sea. Today by taking seven rounds
around holy fire, they have become lifelong partners. They should not forget
to serve the society, humanity and the nation. In this way a newly married
couple is given a piece of advice through a mangalastak.

After the wedding, the bride has to hold the hand of her bridegroom
and walk around holy fire seven times. The bride weeps a lot while taking
the rounds. The women sing the following song on this occasion:

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 Eka veda feral laj beti panehuri

Dusro Veda faral yadi bapero

Tisro Veda faral bhen bhairo

Chautho Veda faral nanad bhavjuro

Pachvo veda faral joru tamari

Chovo Veda faral lada tamari

Sat veda faral yetadu maro. (Song No. 26)

Meaning

The women ask the bride to take seven rounds in the name of different
people related to her. The first round is in the name of chiefs of the tanda.
The second round is for the sake of parents. The third round is in the name of
brothers and sisters. The fourth round is for her sisters-in-law. With the
completion of the fifth round, she would become the wife of her husband.
She would become his (husband’s) by taking the sixth round and with the
seventh round the bride says that the bridegroom belongs to her. In this way
the women persuade her to take seven rounds around holy fire. After this
wedding ritual completes.

Tangadin vat Lagadno (A farewell song)

After this meal is served to all who have come to the wedding. The
last ritual is to give farewell to the bride. In Banjara language, this is known
as ‘Tangadin Vat Lagadno’. For this, relatives, guests and all the people of
the tanda gather at the bride’s house. A bride used to express her sorrow
through a particular song known as’Haveli Song’. Haveli is a kind of prayer
that a weeping bride recites. Through haveli song, she would convey her
good wishes for the well being of her parents, brothers, relatives and all the
people of tanda. In the past the bride was made to stand on ox, then in a

62
bullock cart and taken around the tanda so that all the people of the tanda
could say goodbye to her. She used to be accompanied by elderly women
who could co-operate her to sing Haveli song. Men, women, and children
would follow the ox and bullock cart weeping. The old people say even the
oxen used to weep on this occasion. This used to be a very emotional
occasion. The bride would lift both her arms over her head and sing ‘Haveli’
song. The following is a haveli song:

Chut mat jayes haveli

Marej nayak bapuri haveli

Tarej rajema achoj khadi

Achoj peedi haveli ahinya

Tarej rajema achoj vodi

Eka ghadi lagavat

Das ghadi laged virena ahinya

Ye mar nayak bapuri haveli

Aacho khayes, aacho piyes

Mar bapuri haveli ye aa-hiya…

Vadlasu vades, ghurlasu feles

Limdasu leres hariyali su hari res

Marwari virenlari haveli aa hiya. (Song No. 27

Meaning

The bride says that it is the home of my beloved father and she should
not be isolated from it. Here she has been brought up well. Herein she has
dressed well and enjoyed the best days of her life. Further, she says that
everything is overflowing with wealth and prosperity. Whenever she comes

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back, be this home be overfilled with plenty of pleasure and be the family of
this house grow bigger and bigger like a Banyan tree. Let this tanda enjoy
like a chestnut tree. She feels that a fisherman has thrown a net in the lake
and beautiful pretty fish have been trapped in it. Her condition is like a fish.
She addresses her father that she is not a coconut to be sold. She thinks that
her handsome brother should always wear golden earring and a golden chain.
She pleads her brother that he should make her his wand with the magic.
Then she turns towards her mother. She requests her mother that she should
give a chance to her to be her like a child for the moment. Finally, she asks
her friends to give her an opportunity to be among them for a moment.

The above song depicts sorrow and liberal outlook of a Banjara

woman. She pleads her parents and relatives with folded palms to protect
her. The separation is unavoidable for her but she wishes for the betterment
of her family and all the people of tanda. She promises her parents that she
would bring flowers but not grass. This oath is uttered as she proceeds to her
husband’s house.

Dhavlo Geet (Farewell Song)

Another mode of expressing sorrow is ‘Dhavlo’, a unique mode of

weeping. This kind of weeping in wedding is found only in Banjara
community. It is taught to a bride by the elderly and wise women of the
tanda. Every tanda has a few women who are capable of teaching ‘Dhavlo’
to young girls and brides. This typical custom is as old as the origin of
Banjara tribe. It is not simple sorrow due to separation of a bride from her
parents. A bride is taught a special type of weeping to be followed on
different occasions during wedding. The features of Dhavlo are the three
modes of expression of pathos. They are-expression of sorrow, expression of

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prayer and expression of bride’s vow. A bride is made to sing Dhavlo for a
long period with the assistance of the expert women. At the time of her
departure to her husband’s house, she is made to recite Dhavlo by herself.
This is a stage of her test to know whether she has learned the art of Dhavlo
well. Unfortunately, modern educated girls are not interested in Dhavlo or
they have no time for learning this particular mode of expressing sorrow.

A bride is initiated into Dhavlo with the following song. At the end of
each line, the word ‘Hi-yaa’ is used to denote intensity of sorrow. A couplet
of Dhavlo is as follows:

Ye yaa, koon paalo, koona poso, koon bhoga, raja-hi-yaa

Ye yaa, yadi paali, bapa poso saasu bhoga, sakkaaraja-hi-yaa.
(Song No. 28)
Meaning:

Through the above couplet, the bride asks her mother to tell her by
whom she was nursed, who protected her, and who is going to enjoy her
services. She herself answers the question. She says that her mother nursed
her, father protected her and her mother-in-law would be enjoying her
services.

When the bride and bridegroom are ready to be taken to a wedding

pandal, the bride weeps and refuses to come out of the house. She weeps
holding a pillar (thooni, tham pakadan rovach) through a Dhavlo when her
brothers forcibly bring her out of the house:

Chut mat jayes, mare ja nayak bapuri haveli- hi-yaa

Chut mat jayes, maro Roopa, Khemari, veernari haveli-hi-yaa.
(Song No. 29)

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 This unique way of expressing sorrow through a song is not found in
any community. This is not practiced in remarriage ceremony. When a bride
takes her mother’s leave, she sings the following Dhavlo:

Yadi ye han hiya

Ton ku chodu ye yadi he hiya

Chanda suryari Jodi ju ma-betiri Jodi

Kidi mungi sapati ju, tari beti koni sapati yadi

Limbu naral vakge ju, tamari beti vakagi yadi

Tari beti ti talo mat khavjo yadi ye hiya. (Song No. 30)

Meaning

Through the above Dhavlo, the bride says that it is very difficult for
her to go away from her mother. They were as inseparable as the sun and the
moon. She says, “Why are you sending me away? She would have lived with
her as ants and other insects live. She also says that she has been sold like
lemons and coconuts. It means that she was not a thing to be sold. Finally,
she pleads her mother that she should not avoid her. In this way the bride
gives way out to her feelings.

When a bride takes brother’s leave, she sings the following Dhavlo:

Virena aa hiya

Maro marwadi virena aa hiya

Veera tari bhen cha karan aayes

Wali vaten sudi karan aayes

Sau kosen ek kos karan aayes

Jana dekhu jana tari murat harad aav aa hiya. (Song No.31)

66
Meaning

One finds sister’s affection for her brother in the above song. The
sister (bride) requests her brother that he should not forget her after marriage.
He should come to meet her in spite of rough, tough and a very long way. It
also means that he should not bother for any hindrance on the way. In the
end, she says that she remembers him often. A responsible brother can take a
message from this kind of song.

In this way the wedding songs begin in enthusiastic and ecstatic

manner but the farewell songs are sung in tragic tone and surrounding. In
Banjara culture, the farewell songs are full of pathos and express pangs of
separation. Even a stoney-hearted person cannot control himself from
weeping if he is present for the farewell Banjara wedding songs are unique in
nature and meaning. It is the duty of younger generation to retain them.

General Wedding Songs

Besides these, there are many songs sung during various stages on the
day of wedding. The songs are sung by women as well as maidens. Many
times the women sing songs throughout the night. They are very fond of
singing songs using mike system. It is a kind of hobby for some women. The
following are some of the songs:

Tam Balajin chalo ni bhai loko

Balajim Govind jan deko

Tam povran chaloni bhai loko

Tam pad (mountain) chadoni bhai loko

Pavram bhaya jatani dekho

Tam Umrin chaloni bhai loko

Umrin Samka jatani dekho. (Song No.32)

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Meaning

This is another song sung by women. Through this song the women
ask people to accompany them to Tirupati (Balaji), Pohara, Umri, and
worship Lord Venkateshwara, Sevabhaya and Samki Mata respectively.
These are the holy places for Banjaras. Poharagad is a place in Yavatmal
district where the temple of Saint Sevabhaya is built. Umari is a place in
Nanded district where the temple of Sati Samka Mata is located. Banjaras are
highly religious people. In spite of poverty, they go to Tirupati in the month
of Shravan (August) and celebrate the festival ‘Gokul Ashtami’ in the same
month.

Another song is as follows:

Beti ro vai janam ye, jambu lag hare zaden

Beti chali nanden ye, samsam dadi dadan

Beti ro vai janam ye, jambu lag hare zaden

Beti chali nanden ye, samsam yadi bapen

Beti ro vai janam ye, jambu lag hare zaden

Poti chali nanden ye, kaka kaki lage royan

Beti ro vai janam ye, jambu lag hare zaden

Beti chali nanden ye, yadi lagi krodh karen. (Song No. 33)

Meaning

On the occasion of wedding, almost all the songs are sung by women.
Through the above song, the women say that the birth of a daughter is of no
use because one day she has to marry and leave her parents, sisters, and
brothers. When the daughter goes with her groom, it is very difficult for her

68
grandparents, parents to live without her. All her relatives especially mother
weeps a lot when she has to be seen off.

Through the following song, the mother of a bride expresses her feelings:

Mari soneri chimni vadchali

Mari laderi chimni vad chali
Dadi dadan suno kar chali
Mare laderi ladki vad chali
Yadi bapen suno kar chali
Kaki kakan suno kar chali. (Song No. 34)
Meaning

All parents love their children. In Banjara community, children are

brought up very well. A daughter is like a sparrow. One day a sparrow flies
away even if one takes a lot of care. In this song a daughter is compared with
a golden sparrow. When a daughter flies away, it is very difficult for
grandfather, grandmother, father, mother and uncle and aunt to live in her
absence. They cannot bear the very thought of living without their daughter.

The women try to console the mother, grandmother, grandfather, and

brother of a bride through the following song.

Tu kasekarta rori ye naykan yadi

Wu tari cheni beti ye naykan yadi

Wu to sasuri bodi ye naykan yadi

Tu kasekarta roro re marwadi veera

Wu tar cheni bhen re marwadi veera

Tu kasekarta roro re naykan bapu

Wu to sasreri bodi re nayak bapu. (Song No.35)

69
Meaning

This song is addressed to the parents’ and brother of a bride. The

intensity of parents’ sorrow is seen when the beloved daughter departs from
them. So the women try to console parents through the above song. The
women ask the parents of a bride not to weep because she has become a
daughter-in-law of some family. They also advise the brother of the bride not
to be sorrowful because she is not his sister anymore.

Mandpem kamlero ful ye, ladki to royachi kasen

Dadiri nayaki rakad ye, ladki tu royachi kasen

Stage kamlero ye, bait u royachi kasen

Baperi shan rakad ye, tai tu roychi kasen

Yadiri nayaki rakad ye, ladki tu roychi kasen. (Song No.36)

Meaning

A bride weeps constantly on the day of wedding. Sometimes it

becomes very difficult to control her. The elderly women of the tanda
try to give her some sort of comfort and relief. Through the above
song, the women ask her not to weep. At the same, she is also advised
not to commit any bad or evil act that would hurt and defame her
grandparents and parents.

Yadi ladki posan re cheni faydo

Yadi beti posan ye kahin faydo

Yadi chavan lokuro kadak kaydo

Yadi chavan lokuro barik kaydo

Dadi poti posan ye kai faydo

Dadi tari samdanero kanun kaydo

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 Dada poti posan re kai faydo

Dada tare samdiro vakil kaydo. (Song No. 37)

Meaning

Through this song, the married woman expresses her feelings to her
parents and grandparents. She seems to be in a confused state of mind. The
woman tells her parents and grandparents that there is no use of bringing up
a daughter because after marriage she has to live according to rules and
regulations of the family in which she is married. It means that she has no
freedom after marriage.

Kahi karu ye yadi mare bhole bapen

Ladki denako denako aadani lokun

Kahi karu ye yadi mare bhole dadan

Poti denako denako pidaya lokun. (Song No. 38)

Meaning

The theme of the earlier song is continued in this song. Here too a
married girl blames her father and grandfather for her marriage to an
illiterate and boy addicted to liquor. In the old days, the girls’ opinion was
not taken into account while fixing the marriage. Even the boy, as well as
girl, was not allowed to see each other till marriage. It seems that she is not
very happy with her marriage.

Ladki haro zad cha ye wori chendi karal

Tari sasu cha bholi won yadi manla

Ladki haro zad cha ye wori chendi karla

Taro sasro cha bholo won won baap manla

Haro zad cha ye beti chendi karla

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 Taro devar bholo won bhai manla

Haro zad cha ye ladki chendi karla

Tari nanad cha ye bholi won bhen manla. (Song No.39)

Meaning

This song is a piece of advice for the bride. The women singing this
song seem to be familiar with the family in which the girl is married. The
women tell her that her father and mother-in-law, her brother and sister-in-
law are ingenious or credulous people. So she should treat her father-in-law
as father, mother-in-law as mother, brother-in-law as brother and sister-in-
law as sister. As a result, they all would be living happily together.

Mari laderi ladki re bholo samdi

Mari laderi beti re bholo samdi

Shan shokeri ladkire bholo samdi

Mari huseri ladkire bholo samdi

Woro lad purare bholo samdi

Mari huseri ladki ye bholi samdan

Wori hus purad ye bholi samdan. (Song No. 40)

Meaning

The bride’s mother addresses this song to her daughter’s father and
mother-in-law. She thinks they are simpleton. Therefore a mother is
very much worried about her daughter. The parents provide whatever
the daughter demands. So the mother requests her daughter's in-laws
to treat her like their daughter.

Bai ton mind kaseri aavrich

Shobha ton nind kaseri aavrich

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 Bai man nind ye vayari aavrich

Tai ton nind kaseri aavrich

Kaki man nind ye vayari aavrich

Yadi man nind ye vayari aavrich. (Song No.41)

Meaning

This song is addressed to a would-be bride. The name of the bride in

the song is’Shobha’ and she is addressed as ‘bai’ and ‘tai’. Generally, a bride
sleeps a lot. So her mother, aunt, and other women ask her why you sleep so
much. In reply the bride says that she feels sleepy because of her marriage.
Perhaps she means that she is going to lose sleep after her wedding.

Man davalin leyan aajo virena

Sono manguni chandi manguni virena

Tare gharem hiso ghaluni virena

Tari chayani haveli chayali virena

Sadi chayani bangadi chayani virena

Man yaditi bolero aavad virena

Man bhiyati bolero aavad virena

Khet manguni khetari manguni virena

Tari rasidem hiso bheluni virena

Sadi manguni choli manguni virena

Man davalin leyan aajo virena. (Song No. 42)

Meaning

The speaker of this song is a sister in general. She addresses this song
to a brother. She asks her brother to come and take her for the festival of

73
Diwali. Many times it happens that brothers don’t care for their sisters after
the marriage. This is a common phenomenon all over the world. Further, the
sister says that she does not want gold, silver, sari, bangles, share in-house or
property but she wants to meet her father, mother, brother, and sister-in-law.
In Banjara community sisters are overlooked and neglected. This song is for
the people who overlook the daughters after their marriages.

Raat dan veera ye bhenere ghorem

Koni reyewai ye bhene gharem

Raat dan yadiye betire ghorem

Koni reyewali yadi beti gharem

Raat dan bapu ye betire ghorem

Koni reyewali bapu beti gharem. (Song No. 43)

Meaning

When a girl is grown up, her parents are worried about her marriage
day and night. A brother is also worried about his sister's marriage. The
women advise them not to worry because one day or the other the girl is
going to be married. She is not going to live with them forever.

Beti saru baap saleti rego

Beti saru baap saleti rego

Wori saleri kamai jamai lego

Bhenesaru bhai saleti rego

Wori saleri kamai bhenoi lego. (Song No. 44)

Meaning

Most of the Banjara people are poor. They work very hard and collect
money for the wedding of daughters. These days they have to spend a lot of

74
money on marriages. In this song, the women say that a father as well as
brother has spent a year’s income on wedding. Whatever they earned in a
year is taken away by son-in-law or brother-in-law. Many times they borrow
money from rich people and spend on weddings. To repay it they have to
work on the farm of rich people as bonded laborers. It also shows that
parents do anything for the sake of children’s happiness.

Tu bes mat duli narajati

Dula vayan aayoch ulaseti
Dula haldin aayo ulaseti
Ton zumbar layoch bhushaneti
Ton ghalen derochye bhushaneti
Tu bes mat rani narajati
Jeta vayan aayo ulaseti
Ton shalu layochaye bhushaneti. (Song No. 45)

Meaning

This song is addressed to a bride. A bride is worried and disgruntled

about her marriage and married life because a girl has to sacrifice freedom,
likes, and interests and she has to live according to the likes and dislikes of
her husband and in-laws. So the women ask her not to be upset. They also
tell her that her groom has come with great enthusiasm for marriage. He has
also brought ornaments and wedding sari for her. In this way the women try
to change the gloomy mood of the bride.

Gadi yesikan ubhi nayak bapu

Taro pheta kun dhoye nayak bapu

Gadi yesi kan ubhi naykan yadi

Taro shalu kun dhoye naykan yadi. (Song No. 46)

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Meaning

This song is sung by the bride herself. It is the time of departure. The
vehicle is ready at the gate. The bride tells her father and mother that who
will wash their clothes in her absence. A Banjara girl has to do household
work. She is a great help to her father and mother. Once again a mother has
to do all types of work after the daughter’s marriage.

Ham chavaneri bodi ye chalkodi

Ham vayap aai ye sasu bodi

Ham vaya sadari sasu bodi

Haam nachen aayi ye sasu bodi

Ham ramen aayi ye sasu bodi

Ham kheden jari ye sasu bodi

Ham sono molai ye sasu bodi

Ham bhuria molai ye sasu bodi. (Song No. 47)

Meaning

Generally, there is no harmony between a mother-in-law and a

daughter-in-law. But one finds a healthy relationship between a mother-in-
law and a daughter-in-law in this song. The word at the beginning of each
line is ‘ham’ which means ‘we’ and ‘we’ means a mother-in-law and a
daughter-in-law. Wherever they go, they go together. They say that they are
the daughters-in-law of Chavan family and they are as agile as sparrows.
They say they have come to wedding for singing and dancing. They also go
together to buy gold and ornaments. They have also played an important role
in the celebration of the wedding.

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 Tu ka jiven kadapo lechi bapu

Tu ka jiven kadapo lechi bapu

Mare man sasro khetluchu bapu

Tare tani kaydo aaye duni bapu

Mare man sasro khetluchu bapu. (Song No. 48)

Meaning

A bride addresses this song to her father. A father is worried of the

daughter’s future after marriage. Perhaps she notices her father’s anxiety. So
she tells him that she is capable of facing any critical situation and she won’t
give any chance to her in-laws to complain about her. In this way the
daughter tries to console her worried father.

Kadi mudiro pinjaro banai beta

Sata todan shala sikai beta

Vahi penen pisa purai beta

Koni fit yadiro upkar beta

Nau mina petem vagai beta. (Song No. 49)

Meaning

A mother is addressing her son in this song. It is a fact in Banjara

community that many educated and employed people don’t take care of their
parents. In this song a mother says that she worked very hard to provide
education to the son. She spent a lot of money on books, notebooks, clothes,
and pens. She also carried him for nine months. Therefore he should have a
sense of gratitude. This is an advice to children who overlook their parents.

Aao ye kaki dadi aajero dan cha ye

Aajero dan cha ye tamaro man cha ye

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 Tamaro man cha ye ladki kunwari cha ye

Aao re kaka dada aajero dan cha

Aajero dan cha re tamaro man cha re

Tamaro man cha re radha kunvari cha. (Song No. 50)

Meaning

Women through this song ask relatives to come towards the wedding
place. On this day, aunt, uncle. grandmother and grandfather are respected
and honored. Today is the day of wedding so all concerned should come
together. Generally, all the people of the tanda spend almost whole day at the
wedding place.

Songs about Death and Funeral Rites

Birth, marriage, and death are important phases of human life. The
songs sung on such occasions present realistic picture of life which has social
and cultural significance. It is a very pathetic scene to see the mourners who
strike their foreheads, beat chest and breast and express sorrow on the death
of near and dear ones. It is a heart-rending scene when the husband mourns
over dead wife or a wife over dead husband. Likewise, sons, daughters and
kith and kin also express deep sorrow through the mournful songs.

A widow being deprived of her husband’s support goes on expressing

her sorrow and praising noble qualities of her husband as follows:

Man tu kanhi kego sayeba re ahinya

Tar bal bachchari rakhawali kun kariye saheba ahinya

Ang deku to vavadi lar deku to talav re saheba ahinya

Ab kanhi karure saheba ahinya. (Song No. 51)

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Meaning

Through the above mournful song, the widow expresses sorrow over
the death of her beloved husband. While expressing sorrow, she raises
questions to her dead husband. She asks him what he has told her and who
will take care of their children in his absence. It seems that the death of her
husband has created many problems in her life. She does not understand
what to do in such a situation. In Banjara folk literature this elegy is
characteristic because it expresses helplessness and painful pangs of a widow
who is worried of her children’s future. Her melancholic song poetically
expresses her inner feelings. The listeners respond through tears to this song.
The word ‘Saheb’ (an officer) used in the form of address carries the
rhythmic effect.

Even after some days of her husband’s death, she asks her relatives
why they have not brought her the message that her husband is still alive. It
means that she cannot accept her husband’s sad demise. A mother who has
lost her daughter or son expresses her sorrow by beating her breast. Her
mournful song signifies that her life is a vacuum after her son’s death.
Likewise, a widower also expresses his deep sorrow by which he can get
relief from pent-up feelings. He is very anxious about the future. The life of a
Banjara woman is full of suffering and she gives way out to her suffering and
pain through the songs. Such a pathetic woman is rarely found in other
communities. Therefore her ‘Dhavlo’ and ‘Haveli’ songs sung at the time of
marriage rituals make her imagine the future life which is full of sorrow and
sufferings.

Here is another song through which a wife expresses sorrow on the

death of her husband.

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 Saheba aan hiya

Tar balbachya kere munde samu dekh

Tu hamen jalmi chodan chalogo kahi

Tar balbacha bhukhe cha ka tarse cha

Karan kun khabar liye ho saheba aa hiya

Tar balbacha vat dekare cha ho saheba aa hiya. (Song No. 52)

Meaning

A widow seems to be worried of her children. The children have to

live without their father hereafter. The woman asks the dead husband why he
has abandoned them all of a sudden and who will ask the children whether
they are hungry or thirsty. She pleads him to restore to life as the children are
waiting for him.

As Banjaras are followers of Hindu religion, they arrange food for

guests, relatives and the people of tanda on the 13th day after the death of a
person. They call it ‘dado karno’. They invite many teams of folk song
singers from suburbs. There are many songs that are sung on this occasion.
One such song is:

Padjay madi ghasarjay ra

Chut jay jivda dagarjay ra

Khub lido khet vadi

Aajin balder Jodi

Rov lar bap yadi

Khub rov nati pot

Aavgir jayeri ghadi

Thalo lag gharbar

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 Nati pot hind lar lar

Beti bali krodh phodir

Pad jay madi ghasarjay ra

Chut jay jeevda dagarjay ra. (Song No. 53)

Meaning

In this song the life of a person is compared with a building. As

human life is mutable so is a building. Human beings have desire for
material things but he has to leave everything here and take leave of the
world. The kith and kin of a dead person lament over his death by weeping.
It is a very pathetic scene when a person dies in Banjara community.
Banjaras are superstitious and believe in rebirth.

All the rituals described above have prominent place in Banjara tribe.
Because of these rituals, the Banjara tribe seems to be different from other
nomadic tribes.

Religious Songs

The life of Banjara people is predominantly religious. They are highly

illiterate and superstitious. They surrender themselves to different gods and
goddesses easily. They have created different kinds of presiding deities for
different diseases, family gods, village deity, ancestors, deity of reason and
forest. They worship even stone, earth and tree as gods. They perform
various rituals for worshipping these gods. Different families observe these
festivals in their own characteristic traditions and conventions. Almost all
important festivals of the Hindus are observed by them. They believe that
salvation ultimately depends upon the grace of the Almighty. Therefore, they
worship these gods and sing devotional songs with fervor.

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 The Hindus believe that devotion is a means to salvation. The same
belief is seen among Banjaras. They feel that guidance is to be sought from a
guru or a teacher and without serving teacher or guru there is no use of
Guru’s counsel or guidance. This is a popular saying among Banjaras. Many
prayers (songs) of gurus, gods and goddesses express their oneness with the
Almighty. There is no dearth of religious and devotional songs which are
accompanied by musical instruments. The prayers are sung to please gods.
Generally, their prayer or bhajan begins with a song of prayer to goddess
Jagadamba and ends with a prayer to the same goddess and Saint Sevalal.

Arati Vataru Mata tari

Taro asaro chavach devi man

Tari jyotiye sada lagan

Panch rangeri aarati sajadu

Gandhero tilak lagadu

Manver asha ghaniren

Taro asaro chavach devi man. (Song No.54)

Meaning

The singers wish to worship goddess with arati forever. The arati is
made up of five elements. I put sandalwood paste on your forehead and
expect your protection. Human beings have a number of desires. The
worshippers offer flowers and fruits to the goddess and wish to be under her
protection. They wish to be graced by wisdom and power of the goddess.

Here is a picture of the omnipotent power of Goddess and man’s

humility. A man has innumerable desires and he tries to fulfill them but
remains in this mid-ocean. He believes that only by the grace of Goddess,
one can reach the shore. The devotee’s feeling of surrender and devotion to

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the goddess is concisely expressed. It is a prayer for reaching the shore
safely.

Aajo aajo sevadas tar karure aradas

Gor zhurare bhaya tare vas

Aajo aajo Bhimaro tu bala

Kana layis bhaya tarore dal

Ravanere saru Ramero avatar

Gokulema jalmo ghanshyam. (Song No.55)

Meaning

The devotees worship Sevabhaya with great reverence. Further, it

is said that Banjaras are waiting for Sevabhaya. Banjaras believe that one
day or the other Sevabhaya will appear on the earth once again. The Banjaras
serve and worship the saint. They also feel that Sevalal should protect them.
They say he is the dear son of Bheema. When would you appear before us?
Rama’s incarnation was for the good of people. So also your incarnation
would be for the welfare of the Banjaras.

This prayer is for the redemption and redressal of entire Banjara

community. Just as Sri Rama and Sri Krishna incarnated to eradicate
adharma and establish dharma. In the same way, Sri Sevalal should take
rebirth to protect his followers. The harmonious blending of a mythological
image is expressed here with great force. The references to Sri Rama and Sri
Krishna indicate that the Banjaras are well acquainted with great epics,
Ramayana and Mahabharata. There are many religious songs about the gods
and the goddesses. Vaishnava mythology, saints, and seers are found among
the Banjaras. The Banjaras also sing philosophical songs to describe the life
of saints, creation, and evolution of universe and God.

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 Dr. V. Ramkoti has mentioned a prayer to Lord Venkateshwara
(Balaji) in his book Banjara Lokgite.

Balajiro bhandaro veroch

Sano samlo sagasen bhai

Bal gopal se aa javo (149).

Meaning

Lord Venkateshwara is one of the deities that Banjaras worship

wholeheartedly. They go to Tirupati in the month of Shravan and after
coming back they celebrate the festival ’Gokulastami’. Relatives are invited
for sweet meals. This prayer is recited before serving food. The elderly
person in the tanda recites the prayer. He says that it is the program of
Tirupati Balaji and all people including children should gather for the
blessing. The person says this very loudly three times so that all should
know.

Gavlanesobat ramen aajo Kisan

Gavliyan sobat ramen aajo Kisan

Gavlane sobat naach la re kishan

Gavlane pagep ghungra bandhan naachrich

Nangara vajan tu naach re Kisan (Song No. 56)

Meaning

The above song sung by women is about Lord Krishna. The women
ask Krishna to come and play with milkmaids as well as his friends who look
after the cattle. All the milkmaids remain with you so that you can enjoy
dancing with them. The milkmaids are dying by tying small bells at anklets.
You can beat drum and dance with great joy.

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Festival Songs

Festivals have an important place in any tribe. The tradition of

festivals is continued with the origin of a tribe itself. Festivals are a source of
inspiration for leading a meaningful life. One comes to know the culture of a
particular tribe after studying its folk songs. There are religious as well as
life value contexts behind the festivals. Banjaras are spread all over the
nation but there is no much difference as far as the celebration of festivals is
concerned. They also celebrate the festivals of the region in which they are
located. Banjaras also observe Hindu festivals according to their own distinct
tradition and heritage. The celebrations of these festivals demonstrate that
they are religious and believe in traditional culture. The chief festivals
celebrated by Banjaras are:

1. Seeta Matar Puja (worshipping mother Seeta)

2. Teej Festival

3. Dawali (Diwali) and

4. Holi

Besides the above festivals, Banjaras also observe other festivals like
‘Nagapanchami’ (Worshipping Snake Gods), Gokulastami (worshipping
Lord Krishna) and many minor festivals.

Seeta Matar Pooja (Worshipping Mother Seeta)

During the month of July or August, Banjaras worship goddess

Satbhavani and Lukkad (servant). They believe that the arrival of Ashad
month brings different kinds of diseases. Therefore, they pray goddesses of
energy like Tulja Bhavani, Vagzayi, Ingalamata and Lukkad (servant of
seven goddesses) to protect them from diseases. They worship these
goddesses through a song:

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 Mataro mandir ujalo ye

Jalmero mel ujalo ye

Oma Hingalariy Jatarayiya

Vinati sunalay marima

Ganga utar ham deradi yoya ava

Tapiya chaliy bharapur

Vinati sunalay marima. (Song No.57)

Meaning

The temple of the goddess is illumined as the glorious annual fair

of Hingalamata has started. Oh! Mother accept the prayer and worshipping.
They (devotees) have crossed the holy Ganga and the Tapi River. They not
only worship but also entreat the goddess.This prayer expresses Banjara
culture and their religious outlook. The prayer has beautiful images. The
spiritual feelings overflow when the women sing emotionally. This prayer
has great importance in the folk literature of Banjaras. This prayer also
presents images of gods, goddesses, and culture. There is a fine blending of
sentiment and rhythm.

Teej Festival

Banjaras celebrate Teej festival when all the people of the Tanda are
in a prosperous and happy state. The Naik and Karbhari of Tanda Panchayat
decide whether Teej festival is to be celebrated or not. This is the festival of
unmarried girls and boys. The festival lasts for ten days. It is an opportunity
for young girls to learn songs and dancing. The elderly women train the girls
through songs, heroic stories, riddles, and dances. The elderly men teach
playing musical instruments like Nangara (drum), Thali (plates), Jhanj
(cymbal) and Wansali (flute) to boys. The Teej festival lasts for nine to ten

86
days. The girls play a dominant role and the boys have a minor role to play
in it.

This festival is observed with a background of worshipping Lord

Krishna. ‘Teej’ means wheat seedlings grown by girls of marriageable age. It
is grown in specially prepared round baskets. The maidens worship them
with devotion. After the tenth day, they carry them to the temples. On the
first day, the girls are asked by the Naik of the tanda to sow wheat seeds.
They do it with great joy and by singing songs. They water the baskets every
day. During the whole week, the girls and elderly women dance and sing
songs. There is a significant association between the worship of sprouting
and Sri Krishna. The festival is symbolic of the emotional and cultural point
of view. There is a prolonged programme of dancing and singing for ten
days. When the Naik of the tanda permits the girls to celebrate the festival,
the girls are overjoyed and sing the following song:

Lakadim suo labore kanhaiya lal

Tandero nayak aachore kanhaiya lal

Betin teej boraro re kanhaiya lal

Kunwariro aasis lerore kanhaiya lal. (Song No. 58)

Meaning

The girls praise the chief of the tanda for giving them permission to
celebrate the ‘Teej’ festival. They say that the Naik is a good person
who allowed his daughters to sow seeds for worshipping. The girls
feel that by giving them permission, he is taking blessings of
unmarried girls. If the chief of the tanda does not permit, the festival
cannot be celebrated.

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After seeking permission of the chief of the tanda, the girls go to the market
to buy baskets for sowing seeds. In Banjara language, it is known as,'woldi
leyan jano', which means to go to bring baskets. They sow wheat seeds in it
and water every day. The following song is sung while the girls go to the
market:

Chaloy bai woldi leyan java

Pach pachaseri woldi lanva
Wom aapan teej borava
Chaloy bai woldi leyan java
Hatadin jatani woldi molava. (Song No.59)
Meaning

The girls seem to be extremely happy to go to the market to bring

baskets for sowing seeds. The girls say that they should go to the market and
buy a basket for five to fifty rupees and sow seeds in it. In this way, the girls
express their feelings in this song:

Then the girls with baskets on their head go to the field to fetch clay
for sowing wheat seeds in baskets. In Banjara dialect, it is called as,’dhud
leyan jano’. They bring soil under the jujube fruit tree. Before filling the
baskets with soil, the girls make seven rounds to the tree. While taking
rounds, the girls sing the song:

Bordir bor

Khate mitte bor

Tamach lagjavo

Tamach zadjavo

Kanur kania charmatadi

Aavge palthya todlege bor. (Song No.60)

88
Meaning

The song is about a jujube fruit. They say that the jujube fruits are neither
sour nor sweet. Bearing and falling fruits from a tree is a natural process.
The people of ‘Palthya’ have plucked all jujube fruits. ‘Palthya’ is one of
the clans in Banjara community.

Then the girls gather at the house of the chief of the tanda. Each girl has her
own basket. They fill the baskets with clay for sowing wheat seeds. At this
time they sing and dance. It is a moment of pleasure for them. While sowing
seeds, the girls sing the following song:

Ma lu ye devero naam

Jere pach periu teej

Ma lu ye dhartiro naam

Jere pach periu teej

Ma lu ye bhayaro naam

Jere pach periu teej. (Song No.61)

Meaning

The girls sing this song in chorus. They say before sowing wheat
seeds in the basket, they would like to take the name of gods, the
Earth and Saint Sevabhaya. It is a tradition in Banjara community to
worship gods, goddesses before doing any activity.

The girls water ‘Teej' twice a day during the festival. They do it
wholeheartedly. They also observe fast for ten days and worship goddess
‘Teej’. It becomes a daily routine for them. These days are full of enthusiasm
and joy. The young boys and girls enjoy to the fullest. Every day in the
evening, the girls sing different songs. One such song is as follows:

89
 Mare bapuri aanglem boiye teej
Ghadi bharo nachleti
Pani ghalan boiye teei
Ghadi bharo ramleti
Mare virelare nameri boiye teej
Ghadi bharo nachleti
Mari yelakelari teej
Ghadi yek ramleti. (Song No. 62)

Meaning

The girls say that they have sown seeds in the yard of the father. They
wish to dance for some time. They have sown seeds for the betterment
of their brothers. They have done it with great difficulty. Therefore
they wish to express joy by dancing.

These songs have the background of the birth of ‘Lord Krishna’, his
growth and his merry-making in the company of Gopikas. The songs are
accompanied by dance. Here is a song how the child Krishna teases
Yashoda, his aunt.

Suto vero Kisan bai suto vero

Beto vero Kisan bai beto vero

Zad chado Kisan bai zad chado

Mundo dhol Kisan jara mundo dhol

Bandapar beto Kisanbai bandapar beto. (Song No. 63)

Meaning

Here is a naughty picture of Krishna. The women describe Krishna as

sleeping and sitting on stone. The Banjara women feel that they are Gopikas

90
who love Krishna. As they are anxious to meet him, they feel pangs of
separation.

Besides the songs about Sri Krishna, the Banjara women sing songs
about Sri Rama, Sri Sevabhaya, and Mitubhukiya. On this occasion the
Banjara women sing riddle songs also. These songs have the garb of a riddle
i.e. in the form of questions and answers. They exhibit the imaginative
outlook, sensitivity and romantic approach of the Banjara people.

Nayakano : Nayako kandepar jala vod aavjo

Nayako muyimat lavjo jiva mat marjo

Nayako boti bagar ghar mat aavjo

Nayak : Nayakano kandepar jala vod sikarin jaya

Layan laya indato laya

Women : O! Chiefs, carry nets on your shoulder and go for

hunting. Don’t kill anything and don’t bring the dead.
But don’t return home without hunting.

Chief : O! Heroine, we go for hunting. We carry nets on our

shoulders and we won’t bring dead. If we return, we
bring eggs.

In the same way, a group of men put questions to a group of women.

Karbhari : Panin jav Jo Karbharan

Pani lava dijo

Vavadiro mat lavjo

Khaliyaro mat lavjo

Pani bagar gharamat avjo

Tije boravajo

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Karbharan : Panibhi lanva karbhari

Bedo bharlanvur

Tije boranvur

Secretary : O! Ladies, go to the stream and bring water. Don’t bring

water either from stream or well. But don’t return home
without water.

Wife of the Secretary :

O!, Men, we go to the stream and bring water. We

won’t bring water either from a well or a stream. When
we return, we bring coconuts and water Teej.

In this way, the groups of young women and men enjoy the riddles.
These songs are the mirrors of Banjara life. They are notable for enthusiasm,
imagination, skill and romantic feelings. The conversation through the
romantic songs has distinct place in Banjara folk literature.

In this way, Banjaras celebrate ‘Teej' festival with great enthusiasm

and joy. This is a typical festival of girls. In the last, the baskets of teej are
thrown away in the river. First of all the basket of the chief of the tanda is put
into the river. The girls cannot bear the throwing of baskets into the river.
They return home weeping.

Diwali (Dawali)

Diwali is an important festival of Hindus. In the same way, Holi is an

important festival of Banjaras. Banjaras consider Diwali and Holi as sisters.
They celebrate Diwali festival for two days. Like Teej, this festival is also
the festival of maidens. The girls bless all the people of tanda and animals
through songs. Banjaras call this festival as ‘Dawali’ or ‘Kalimas’. It is one
of the most important festivals that Banjaras celebrate in their own distinct

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tradition. Like Hindus, Banjaras believe that on this occasion darkness is
eradicated by illumination of lights. Dhanalaxmi (Goddess of Wealth) and
Dhanyalaxmi (Goddess of Corn) are worshipped on this festival. The
following is a song about the relationship between Diwali and Holi:

Holi-Dawali doi bhenedi

Holi to mang chalhak Bokdo

Dawali to maang zagmag divlo

Holi aati to, geriyan beta de jati

Dawali aati to baldan sak de jati. (Song No. 64)

Meaning

Banjaras consider Holi and Diwali as sisters. The women say that the
festival of Holi demands a male goat while the festival of Diwali demands
illuminating lamps. If it would have been the festival of Holi, the geriya (the
hero of the festival) would have been blessed with a son and if it would have
been the festival of Diwali, it would have blessed cows. On the occasion of
Holi festival, Banjara people pray to Goddess Holi to bless the ‘geriya; with
a son so that they can celebrate Holi next year.

Diwali is a festival of light. On the day of Kartik Amavasya, Banjaras

used to sacrifice male goat to goddess Mariyama. In the evening, the naik of
the tanda advises people of the tanda to light lamps so that there would be no
more darkness. All people follow naik’s advice and light lamps. At this time
the maidens sing the following song:

Raat andheri ye, divlo ballijo

Dawali ro dan ye, divlo bal lijo

Telero toto ye, tel bhar lijo

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 Ruyeri kami ye, vate bhar lijo

Varshe dader kot dawali, maryama ton mera. (Song No. 65)

Meaning

The maidens ask other girls to light the lamps as the night is very
dark. As it is the festival day of Diwali, they should light the lamps. They
should fill the lamps with oil because they feel that they have shortage of oil.

Banjaras worship goddess Laxmi on the night of Diwali. The

unmarried damsels of the tanda assemble together with lamps in the hands.
They move from house to house and sing in chorus wishing health and
prosperity to all the people of the tanda. First of all, they go to the house of
the Nayak. (Chief of the tanda). It is an honor of the Nayak. This colorful
ceremony of lamps and ‘Mera’ performed by Banjara girls is the unique
feature of their culture. They go round the tanda at night to instill the spirit of
unity and integrity. All the people of tanda keep awake till this ceremony is
over. The girls sing the following song in chorus:

Varshe dader kot dawali, Balaji (Tirupati) ton mera

Varshe dader kot dawali, Durga (Goddess) ton mera

Varshe dader kot dawali, Kankaali (Goddess) ton mera
Varshe dader kot dawali. Jagadamba (Goddess) ton mera
Varshe dader kot dawali, Seva Bapu (Saint) ton mera
Varse dader kot dawali, Bapu (father) ton mera
Varshe dader kot dawali, Yadi (mother) ton mera
Varse dader kot dawali, Bhiya (elder brother) ton mera
Varshe dader kot dawali, Bhabhi (Sister-in-law) ton mera
Varshe dader kot dawali, Bai (elder sister) ton mera.
Varshe dader kot dawali, Mama (maternal uncle) ton mera

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 Varshe dader kot dawali, Mami (maternal uncle’s wife) ton mera
Varhe dader kot dawali, Phoofa (father’s sister’s husband) ton mera

Varshe dader kot dawali, Phoofi (father’s sister) ton mera.

(Song No.66)

The girls repeat this song in chorus with the names of inmates in the
tanda which they visit in turn. The idea behind this ‘Mera’ is to pray to gods
and goddesses, to show respect to elders and also to express their love and
affection to the kith and kin. They also sing ‘Mera’ song collectively for the
prosperity of cattle. Every family is expected to give them some present in
cash according to their capacity. On the same day or the next, the amount
collected is equally distributed among all girls. This song describes the
fragrance of the broad-mindedness of Banjara women and their harmonious
life. On the morning of balipada day, (next day of Laxmi-Pooja) maidens
dressed in colorful garments assemble with bamboo baskets for going to
field to collect flowers.

While going to field, the girls sing the following song in group:

Chalo javan ye chori yo phul toden

Nayak layo ye chori yo car besen

Chalo java ye chori yo phul toden

Veera layo ye chori yo car besen

Chalo java ye chori yo phul toden

Karbhari layo ye chori yo car besen. (Song No. 67)

Meaning

The maidens sing the above song when they go to the field to bring
wild flowers for ‘Godan Poojan’. They say that they should go together to

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bring flowers. As they are extremely happy, they feel that the Nayak (chief
of the tanda) as well as Karbhari (secretary of the tanda) of the tanda have
sent a car for going and coming back. They also say that their brother has
brought a car by which they can go and bring flowers.After collecting
bloomed buds and different flowers, they return to the tanda before sunset.
They offer these flowers with devotion to Saint Sevabhaya and Mariyamma.
They make small lumps of cattle dung known as ‘Godan’ and worship with
flowers. The girls go from house to house for Godan Poojan.

The worship of cow dung is symbolic. Like Hindus, they worship

sacred cow. They worship cattle with love and devotion. They consider them
as their wealth. The cow dung worship of the Lambanis is known as
‘Gobardhan Pooja’ (cow worship). This kind of worship is also found among
Marwari people of Rajasthan. While worshipping Godan the girls recite the
following verses:

Khewadya mewadya lambi hare

Dholi hare huteri kaner
Lamb lamb mutner
Chadlas kaner, toknis mater
Aan dhan dudh fid lao lashkar
Dhan Dawali mata sai vesh. (Song No. 68)

Meaning

The girls pray to goddess Diwali through this prayer. The say that
goddess Diwali should bless the people of the tanda with wealth and
prosperity. They go to every house and recite the above prayer while
worshipping ‘Godan’. They finish worshipping ‘Godan’ before the sunset.

In this way, Banjaras celebrate Diwali festival with great enthusiasm.

They worship cows because they are very fond of animals right from the

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beginning. Therefore the young girls pray to Diwali to have peace and
prosperity in the tanda. Every Banjara family has a cow and a few animals.
They give due importance to lamp, light, and godan. Girls play an active role
in the celebration of this festival. On the same day, Banjaras worship their
ancestors. They pray goddess Diwali, Mitubhukiya, and Sevabhaya (the
saints). They also pray for the wealth and prosperity of all the people of
tanda.

Holi Festival
Holi is the most important festival of Banjara tribe. Like other tribes,
this tribe celebrates this festival in the month of Falgun (March) on the day
of Poornima. They start singing Holi songs a month or two before the
festival. The songs are sung by men as well as women. Every day after
dinner, men assemble in the open space and dance and sing Holi songs till
late in the night. They celebrate it in their own distinct way. It is celebrated
in a colorful, gay and romantic way. Sometimes it is celebrated collectively
by the members of more than one tanda. Banjara men wear colorful turban
and cap and roam about tanda singing romantic songs. The women also wear
a gorgeous dress and go about with men dancing and singing romantic songs.
Most of the men, as well as women, drink ‘Bhang’ on this day which causes
intoxication. The following is one such lengi song:
Holi aai ra bhai bhai ra

Aawore kaka dada

Aapan rama holi

Bhai bhai ra

Holi rama ra

Bar minam aayir holi

Bhai bhai ra (Song No. 69)

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Meaning

All people of the tanda come together for Lengi songs. Old as well as
young sing and dance keeping aside age and relation. Even brothers come
together and enjoy singing and playing holi songs. They say that the holi
festival comes once in a year. Therefore they should enjoy to the fullest.

Dhund or Lengi Songs:

The celebration of ‘Dhund’ is the most important event on the

occasion of Holi festival. It is organized by a family that has been blessed
with a male child. It is almost like the celebration of birthday. A folk dance
accompanied by folk song called ‘Lengi’ is at the center of Holi festival. In
the context of Dhund, Dr. Yeshwant Jadhav says, “Regarding Holi festival,
the Dhund ceremony is associated with the myth of harmful ’Dhunda”
demon (91). The men are called ‘Geriyas’ and women as ‘Gernis’. The men
and women perform this ceremony by singing romantic songs. Regarding
Dhund ritual Dr. Ganpat Rathod says,” In certain clans in Banjara tribe if a
male child is born then his Dhund is performed on the day of Holi festival. It
is the birthday celebration of a child that Banjaras celebrate with great
enthusiasm and enjoyment” (89). Banjaras start dancing and singing lengi
songs before eight to ten days of Holi festival. Holi for Banjaras is a time for
merrymaking, a time for enjoyment, for saying goodbye to anger and hatred.
There can be hundreds of songs that are sung on this occasion. Some of the
songs are sensuous. One such ‘Bhand lengi’ is:
Chora kad ye gerni Dhund kariya

Chora kad ye gerni Dhund kariya

Tal tal geriya topar chodiya

Dadi vale bakraro ger kariya

Chora kad ye gerni Dhund kariya. (Song No.70)

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Meaning

This lengi is addressed to the chief woman of dhund ceremony. Of

course it is sung by a group of men. Through this song, the men ask the
woman (heroine) to give birth to a male child so that they can have an
opportunity to celebrate Dhund of her child. They also tell her if her husband
is not capable of giving birth, then there are many young, handsome boys in
the tanda. They will also sacrifice selected ‘male goats’ and perform ‘ger’
after the dhund.

Dr. Ramesh Jadhav has mentioned a ‘Bhand lengi’ in the quarterly Journal
‘Gorwani’.
E geriya mare kamero cheni ye
Mare gomero cheni
Kamero cheni, yen kahi cheni
Gerniti bhundo disavch re
Aan dhato dhato hindach ye (14).
Meaning
There are two groups of lengi song singers. One of men and the other
is of women. This song is sung by women and addressed to men, particularly
the geriya (hero of the ceremony). The women say that the geriya in the
group of men seem to be sloppy. He is formidable and trying to hide. In this
way, men and women go on singing songs in abusive language.

Banjaras’ Holi is incomplete without Dhund. No Indian tribe

celebrates Holi as Banjaras. They consider Dhund as the very soul of Holi
festival. Dr. Yeshwant Jadhav writes about Dhund ritual," on this day
Holika, the sister of Hirnyakshipu tried to burn Prahlad by taking him in her
lap. Then onwards Holi is celebrated in memory of Holika and Prahlad" (91).

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 The men, women, and children dance and sing lengi songs. When the
dance is over, the Nayak, the Karbhari and members of the Panch go to the
houses where Dhund is being performed. They ask the mother of the tiny boy
to dress him in new clothes and bring him to the ceremonial pandal. Finally
the mother brings the child to the center of the pandal and covers him with a
red shawl so that he will not be visible to the geriyas. The young leaders hold
a long strong pole above the pandal. The men and boys normally use sticks
to beat a rhythm on this pole and sing the following song of blessing:

Charik chariya champale

Ju ju champa lera le

Tu tu beta lera le

Aatra wor kaka dada

Aatra wor bhai bandh

Pelo beta nayaki kar

Dusro beta karabhar kariye

Tisro beta khadu charaye

Chautho beta ghod charaye

Pachvo beta cheli charave

Chovo beta ma-baap posiye

Satvo beta hui saputi

Shikach, shikavach hore ho

Aavda viyor aavda. (Song No. 71)

Meaning

The theme of the above song is to give blessing to the newly born
child and to determine his role in future. It is a tradition in Banjara

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community. Many Banjara families have many children. So the role of each
child is determined in the above song. The first child would be a Nayak
(chief) of the tanda while the second son may become a karbhari (secretary)
of the tanda. The third son would look after cattle and the fourth one will
take care of horses. The fifth son will have responsibility of looking after
goats and the sixth son will take care of parents. The seventh son will seek
education and teach others. In this way, the responsibility of each son is
fixed through the above song.

After this ritual, all the people of the tanda, relatives, geriya, and gerni (hero
and heroine of the festival) gather at the place of Holi. They take darshan of
Holi and put an ash on the forehead. Having completed this process, ‘Vajna’
ritual is performed. The process of giving blessing through geriya and gerni
is known as Vajna. This ritual is considered as the last ritual of Dhund
festival. Geriya and gerni bless the family members of Dhund festival in the
following way:

Dada taro holi mata bhalo kar

Kaka taro holi mata bhalo kar

Dadi taro holi mata bhalo kar

Kaki taro holi mata bhalo kar

Bhojai taro holi mata bhalo kar

Baloro holi mata bhalo kar

Bal bacharo holi mata bhalo kar. (Song No.72)

Meaning

The geriya and gerni bless the family by articulating their names.
They say may mother Holi bless all the family members of the child whose
dhund ritual is performed. Towards the end, they pray mother Holi to keep

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all children happy. At this time geriya (hero) and gerni (heroine) feel very
unhappy as the Holi festival has come to an end. They express their feelings
thus:

Holi aai ye, Holi dagar chali

Geriyan dhoko de chali

Holi aai ye, Holi dagar chali

Geriyan saso de chali

Holi aai ye, Holi dagar chali

Das dan reti to, phir ramte Holi

Holi aai ye, Holi dagar chali (Song No. 73)

Meaning

This song is sung by geriyas and gernis (heroes and heroines of dhund
festival). They say that Holi has come and is going now. It means that they
have no opportunity to sing and dance any more. The Holi festival gives a lot
of sorrow to geriyas and gernis. It also means that their hunger for singing
and dancing is not yet fulfilled. They feel that the festival should last long for
ten more days.

Towards the end of the festival, geriyas (heroes) say good bye to
Nayak and Karbhari of the tanda. They bid farewell in this manner:

Ham to hamare ghar chaler nayka

Ram rami ra

Bar minari Holir nayka

Ram rami ra

Bhuli chuki maf karor nayka

Ram rami ra

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 Bachiya jagiya to maliyar nayak

Ram rami ra

Ramte so ham chaler nayka

Ram rami ra. (Song No. 74)

Having completed thirty-six hours of celebration, an atmosphere of

abandon, weariness, and laughter pervades the tanda. The nayak, karbhari,
and members of the tanda gather to discuss the activities of Holi. The nayak
advises the people to lead a purely spiritual life and prepare for the next Holi.
All of them sing to invoke the blessings of God for the coming year. Finally,
the next day a male goat is sacrificed to make the end of the Holi festival.

A new wave of modernism is entering the Banjara community. The

age-old traditions and beliefs are slowly losing their value. The age-old
marriage tradition is becoming rare. The modern musical instruments have
substituted the traditional ones. There is no need of Dhadis these days.
Therefore they are being looked down upon. The Dhadis who had superior
position in the society have now become inferior in the changing world.
They are not getting any help either from society or government. The
government has been identifying the professional singers in other
communities and rewarding them. The Dhadis, professional singers of the
Lamani society should also be identified and helped to preserve their rich
cultural heritage.

General Lengi Songs

Men as well women sing lengi songs on various occasions. Many

times they sing these songs while working in the field. They sing for
entertainment as well as for some sort of relief from hard work. Banjaras are
a very hardworking people. The religious lengis are about gods, goddesses,

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and Saint Sevabhaya. The following lengi is sung by a group of women and
it is about Saint Sevabhaya:

Haro Mandva keti keti bharoch

Haro mandva keti keti bharoch

Haro mandava Sevabhayati bharoch

Mariyamma lagai lalo phundana ye

Man ramati ramech

Haro mandva keti keti bharoch

Haro mandva baba laleti bharoch

Mataji lagai lalo phundana ye

Man ramati ramech

Haro mandva keti keti bharoch

Haro mandva hanumaneti bharoch

Anjana lagai lalo phundana ye

Man ramati ramech. (Song No. 75)

Meaning

This lengi song is about goddess Mariyama, Anjana, (mother of

Hanumana) Baba Lal and Mataji. Mandava is very common among Banjara
houses. The houses are like huts with temporary roof. This song is in the
form of a question and answer. The question is asked by women and it is
answered by the same women. Like what the green mandava (pandal) is
filled with? They answer that it is filled with Saint Sevabhaya. The same
question is repeated but it is answered in different ways.

104
 Badi parbhati Bhaya lado jaro cha

Badi parbhati Bhaya lado jaro cha

Wori chandanim kasero nishan

Seva bhaya lado jaro

Aadir ratero Dhenu lado jaro

Wori chandanim kasero nishan

Dhenu bhaya lado jaro

Wori chandanim ghodero nishan

Dhenu bhaya lado jaro

Badi parbhati Jeta lado jaro

Wori chandanim kasero nishan

Jeta bhaya lado jaro

Wori chandanim dhuniro nishan

Seva bhaya lado jaro. (Song No. 76)

Meaning

Banjara is a migratory community. Even now many families migrate

to other places in search of labor. The above song is about Sevabhaya (the
saint) who also migrates early in the morning. The women also refer to
Jetalal and Dhenu in the song. They too seem to migrate to some other place
in search of other Banjaras or work.

Sevabhayari gheri pute paach

Chandnero tiko kapalen

Tiko khal re bhaya tare devlen

Pooja heri re bhaya tare devlem

105
 Gor dhav re bhaya tare devlem

Sukalaleri gheri pute paach

Chandnero tiko kapalen

Tiko khal re bhaya tare devlem

Lagi zul re bhaya tare devlem

Garasha dad re bhaya tare devlem

Sand dad re bhaya tare devlem (Song No. 77)

Meaning

This song is also sung by a group of women. The women describe

Saint Sevabhaya as well as His temple. Sevabhaya had long hair and a mark
on his forehead. Pooja is being performed in His temple and Banjaras (Gors)
are moving towards the temple for worshipping. The temple is decorated as
Banjaras are coming to perform pooja and to worship Saint Sevabhaya.

Songs of Enlightenment

The tradition of social reformation is in vogue since the 12th century.

The Saints have been trying to reform the society through their actions and
thoughts. Even in modern times, the social reformers try to bring about
changes in the society. In the age of science and technology, television,
cinema, drama, street play, folk drama, ballad and folk songs are the social
means of social reformation. But still there are many tribes in India that are
far away from the above modern means of communication and
entertainment. The poets (saints, maharaj, preachers) and bards in the
community try to reform the community through various forms of folk
literature. It is one of the most powerful means to bring out transformation in
the society.

106
 In Banjara community, there are many poets and bards who compose
and present folk songs on different occasions to reform the illiterate and
superstitious Banjara people. Every Tanda has a group of such people whose
job is to educate the people. The following is one song:

Kudkapat kepri mat racho ra

Garver ghar sada khali cha ra

Koi kere karmeti kharo viyeto

Oro karam woro sathi

Uprevalero sath viyeto

Kahi vach toti moti

Ye ris karan kepri bajlo mat ra

Garver ghar sada khali cha ra

Koi keresaru bala mat socho

Veto hiyeto karlo acho ra

Kud kapat kepri mat racho ra. (S. Rathod 108).

Meaning

Through this song the poet advises people not to be deceitful and
selfish. If someone is well by his fate let him be well and if God is with you,
no one can do anything. So the poet says that one should not be jealous of
others and one should never think evil of others. Instead of thinking good of
someone, one should think good of all the people. A very valuable message
is conveyed through this song.

Daru mat pi re maro sojan pati

Tari kun liye ra jamanati

Daru mai vechnako gharer ghati

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 Mar mar lathethi tod nako tati

Takdareri lagegi sadesati

Tu daru mat pi re sojan pati

Darumai vechnako gharan dar

Koni rakado bai sherbhar jar

Chichapar rovach bati bati kar

Tu daru mat pi re sojan pati

Darumai vechnako gadin Jodi

Aajik vechnako hater ghadi

Molalero chi tu adhogati

Tu daru mat pi re sojan pati.

Darusaru vechnako gharer kheti

Balbachiyan lagayo bikheti

Piv piv daru sukagi chati

Tu daru mat pi re sojan pati. (Ibid. 111)

Meaning

Drinking of liquor is very common among the people of Banjara

community. In this song, a wife is making a request to her husband not to
drink liquor. She says that it has ruined life for innumerable people. The wife
tells her husband that he is her beloved husband but he has only one bad
habit and that is of drinking liquor. She pleads him to leave this bad habit
because nobody would cooperate him to get released on bail from jail. She
reminds him that for wine he has sold a hand-mill, oxen, wristwatch, jawar,
bullock cart, land and now their children have nothing to eat for survival.
The poet advises people not to become victims of liquor.

108
 Kali yugem hundari cha ye chal

Gharen cheni tati bai ye

Chora chalayen maang phat phati bai ye
Kali yugem hundari cha ye chal
Gharem cheni jar bai ye
Chora bese saru maang jipkar bai ye
Kali yugem hundari cha ye chal
Khishen cheni pen bai ye
Chora galemai maang soneri chain bai ye
Kali yugem hundari cha ye chal
Gharem cheni meter bai ye

Chora pani tapayen maang hiter bai ye

Kali yugem hundari cha ye chal. (Ibid. 112)

Meaning

The narrator of this song is a woman. She tells her friend about the
dowry system prevalent in the Banjara community in particular and society
in general. She says a boy has no house to live in but he demands a bike in
the form of dowry. There is no jawar in the house to eat but he wants a car
from his would-be father-in-law. He has no pen in his pocket but he expects
a gold chain to wear. He has no electricity in the house but he demands a
heater in the wedding. In this way the poet protests against dowry system in
the society.

Dhire dhire vel chali jayre

Se jage par re jay re

E jivda kshanbhangur

109
 Cha shrushtir niyam vyahar

Aaji jaser vaso vejayre

Zuti maya, zuti kaya

Disaro jakon sej vata

Se sapner gati ve jay re

Dhire dhire vel chali jay re

Raja ravnero atra vetoto

Atra ven lago koni pato

Ek dan pali bhara jay re

Dhire dhire vel chali jay re

Se vetiti bangla madi

Sobtem aayeni fut kodi

Phuto pisa vatep re jay re

Dhire dhire vel chali jay re (Ibid. 113).

Meaning

Through this song the composer points out the importance of time. He
advises people to make the best use of time. He says human life is short lived
and life and death are the rules of nature. A human body is perishable and the
material things are nothing but a mirage. The poet tries to tell that all that
glitters is not gold so do not be victims of outward beauty. To bring the point
home, he gives an example of Ravana who was very rich but everything
came to an end in a very short time. At the end the readers are told that life is
a dream and it is not revealed until the end. This life may come to an end at
any time. So enjoy life, do good deeds, and make optimum use of time
available to you.

110
 Kashi prayag hindo, udar chei ra

Yadi bapesarik dev duniyam chei ra

Tukobar dekho bhav!

Yadi baper zoli halav

Wore nai seva karocho kai ra

Yadi bapesarik dev duniyam chei ra

Shravan balero dekho bhav

Yadibapen teerth lejav

Wore nai seva karocho kai ra

Yadi bapesarik dev duniyam chei ra

Aajero chora jav Pandharpur

Yadibapen meljav ghar

Won pandurang pavach kahi ra

Yadibapesarik dev duniyam chei ra. (Song No.78)

Meaning

This song is a piece of advice to youngsters. Here the poet emphasizes

the importance of parents. In this modern world, parents are neglected,
ignored and have to live in isolation. The poet advises such people to look
after the parents. Further he says that no holy place is greater than parents.
To prove his point, he gives an example of Saint Tukaram and Shravan Bal
who served their parents like gods. The modern boys go to holy places like
Pandharpur leaving parents at home. So instead of going to holy places,
worship the parents like god because parents are like god and will not be
found anywhere in the world.

111
 Jara hisabeti vago-tam aang badiyo

Jana Marwadi Bamneti- baju kadiyo

Kamatani sevat layo pachas darumai

Pachis rapiyar bidibandal lar ridekai

Daruri shishi piyer chodiyo

Jana Marwadi Bamneti baju kadiyo

Vaya kido choriro hundo vees hazar

Obi koni pure, layo usna vadar

Shekdar pisa keti phediyo

Vavrep cheni dhyan, se dhurapar jor

Kort kacherim bude, lutre se kori kor

Bhai bhai lader jana chodiyo

Jana Marwadi Bamneti baju kadiyo. (Song No. 79)

Meaning

The Banjara is a poor community. They have been living life in

wretched poverty. Through this song, the Banjaras are advised to give up bad
habits and traditions. The poet says if they want to make progress and lead a
life like the progressed communities, Marwaris, and Brahmins, they should
stop spending money on liquor, smoking, quarrel, court, and dowry. They are
also told not to borrow money from money lenders who become rich with
their money.

Aachi niti rakado re manem

Ton yash maliyere kamem

Dusrer aacho dek

112
 Aavgun phadan fek

Tatva rakad ek

Vach kirti tare namem

Lavalavi mat kar

Keri kharabi mat kar

Adhogati mat kar

Mat gama re abhimanem

Jero nun kharo oro gun ganu

Ninda nalastiti durach renu

Khare malker nam lenu

On man malach jagem

Mata pitari seva kar

Thalo dangada mat kar

Jivero udar kar

E Jiv cha taro dukhem

Sadu santeri seva kar

Bhavsagrer mai tar

Aad ran mat far

Kahi cheni thalo hindem. (Song No. 80)

Meaning

Here the poet says to be successful in life one should always have
positive and good thoughts in mind. One should take into goodness of others
and give up one’s vices. According to him, one should be a man of
principles. A person of principles is respected in the world. One should be

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loyal to a person who provides butter and bread. People should be away from
slander. Towards the end the poet advises the readers to serve parents and
saints instead of wandering aimlessly.

Thus Banjaras’ compose and sing songs for entertainment, education,

morality, enlightenment and emotional outlet. They help people to know
customs, traditions, culture of Banjara community. The songs are the
creation of a group of people. For convenience, the songs are classified as
lyric songs, ritual or religious songs, festival songs, songs for enlightenment
and labor songs. The songs are the cultural heritage and the fountain spring
and spirit of Banjaras’ life. These songs contain rhythm, images, rhyme,
figures of speech and illustrations and have poetic qualities. The songs are a
cultural asset of the Banjara community. They provide moral, philosophical
and historical knowledge not only to the Banjaras but also to other people.
The songs about recent political and social happenings provide a perspective
and enhance one’s knowledge about Banjara values and beliefs, norms and
patterns of behavior prevalent in the social structure in the past. The songs
have been providing solace to these hard-working, honest, illiterate and
superstitious people. The language of the songs is simple, flexible,
straightforward and figurative. The style is not very polished but very lucid
and simple. The Banjara folk songs are a potent source of informal education
and can be used to reinforce the conventional formal education system.

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