Goalpariya folk music travels beyond geographical, cultural origins; Pratima Barua Pandey's family member narrates the tale on eve of her 23rd death anniversary

Once confined to the courtyards, riverbanks, among cattle herders, elephant keepers, and villagers of undivided Goalpara, Goalpariya folk music has today travelled far beyond its geographical and cultural origins. Yet, even as the music finds new listeners and performers across Assam and beyond, the question of preserving its originality looms large.

By Animesh Deb Once confined to the courtyards, riverbanks, among cattle herders, elephant keepers, and villagers of undivided Goalpara, Goalpariya folk music has today travelled far beyond its geographical and cultural origins. Yet, even as the music finds new listeners and performers across Assam and beyond, the question of preserving its originality remains a concern.

That delicate balance between expansion and authenticity was at the heart of a conversation with Punam Barua, a member of the Gauripur royal family and a close relative of legendary Goalpariya folk singer Padma Shri Pratima Barua Pandey. Pratima Barua Pandey's death anniversary is observed on December 27. She was born on October 3, 1934 and passed away on December 27, 2002, leaving behind a strong legacy.

"The fact that Goalpariya folk music has broken boundaries is a very positive development," Punam Barua said. "But the concern is when people deviate from its originality, mostly unknowingly." According to Punam Barua, Goalpariya folk music was once largely restricted to undivided Goalpara, encompassing present-day Goalpara, Dhubri and Kokrajhar districts, and parts of North Bengal. Over the decades, however, the art form has found acceptance across Assam and even outside the state.

"Artists and people from beyond the region have started learning this folk art and showing interest in it. That, in itself, is a good sign," she said, speaking to ANI over the phone. Yet, she added, folk music is deeply rooted in geography and lived experience.

"People from Dhubri, Gauripur, Kokrajhar or North Bengal speak the local Kamatapuri language in their day-to-day lives. So, for them, the pronunciation, tonality and emotional connection come naturally. Those who don't belong to that cultural setting often struggle with these nuances," Punam Barua said. The journey of Goalpariya folk music from villages to formal stages owes much to the Barua family of Gauripur.

Punam Barua traced the roots of this transition to her grandfather, Prabhat Barua, a zamindar and a trained classical artist. At a time when folk music was dismissed by many as the art of the illiterate, her grandfather dared to give it a platform.

"During Jalsa in our courtyard, he would invite local folk artists and let them perform. He had to face resistance because classical music and Rabindra Sangeet were considered superior back then," she recalled. That courtyard, she said, became the first "stage" for Goalpariya folk music.

The legacy continued when Pramatesh Barua, Prabhat Barua's son and a prominent Indian film personality, introduced Goalpariya folk songs into cinema during the 1930s, taking the music to wider audiences. It was, however, Pratima Barua Pandey who gave Goalpariya folk music its widest reach. Born into the Gauripur royal family, she chose a path that defied social expectations, dedicating her life to the folk music of the soil.

"My aunty (father's sister) used to watch our elephant keepers sing folk songs after a day's work. She was deeply moved by them and began learning the music," Punam Barua recalled. Her journey was not without resistance, both from society and within the family, but she found unwavering support from her father, Prakritish Barua.

Pratima Barua Pandey's efforts brought Goalpariya folk music to All India Radio (AIR), government platforms and stages across the country, but it was not an easy journey. Initially, even AIR officials were unsure how to categorise her songs. "They questioned what kind of folk music it was--neither fully Assamese nor fully Bengali," Punam Barua said.

It was the intervention of Bharat Ratna late Bhupen Hazarika that proved decisive. Punam Barua credited Bhupen Hazarika not only for mainstreaming the folk music but also for giving it a definitive identity.

"Earlier, it was called 'Deshigeet'--songs of the soil. Bhupen Hazarika questioned why it shouldn't have a proper name," she said. Bhupen Hazarika argued that all folk music reflects its soil and must be identified by its region. After discussions, the term 'Goalpariya' folk music was unanimously adopted, derived from the place Goalpara.

Bhupen Hazarika, in a way, supported Goalpariya folk music, performing with Pratima Barua Pandey on various stages and subsequently featuring some songs in his films. He also recorded many songs while maintaining their originality. Pratima Barua Pandey received the Sangeet Natak Akademi Award in 1988 and the Padma Shri in 1991.

"Her main focus was always on preserving originality. She would sit with local masters of the art and write down folk songs exactly as they were sung," she said. Despite belonging to royalty, Pratima Barua Pandey lived a minimalist life, deeply connected to the people and their way of living, Punam Barua recalled.

She sacrificed her aristocratic life to popularise Goalpariya folk music across Assam and India. The legacy of excellence in the family continues. Her younger sister Parbati Barua, India's first female elephant mahout, was also conferred with Padma Shri in 2024.

On where one can learn Goalpariya folk music today, Punam Barua pointed to institutional efforts by the Assam government. "Performing arts have been introduced as a subject in several colleges. BN College in Dhubri is one such place," she said. However, she cautioned against short-term workshops.

"Folk art cannot be learnt in a week or two. Those who don't belong to this way of life must spend time in regions where the music is lived and performed," Punam Barua suggested. Goalpariya folk music, she explained, encompasses every phase of life -- from lullabies and love songs to pain and separation.

"The lives of mahouts, cattle herders, fishermen and farmers are central themes. The songs also speak of men who go into forests or countryside for months and the agony of wives who stay back alone," she said.Seasons, agriculture, boat races and fishing also find rich expression in the music, accompanied by traditional instruments such as dhol, junuka, dotara, darinda, dhuluki, and bashi. The story of Goalpariya folk music is now set to find a permanent home at the royal Matiabag Palace in Gauripur, Dhubri.

Built between 1904 and 1914 by Raja Pratap Chandra Baruah on the banks of the Godadhar River, the palace was taken over by the Assam government in early 2023 to be developed as a heritage museum. "We are expecting it to open in 2026. The work is being done very beautifully," Punam Barua said, appreciating the Assam government's efforts.

The museum will showcase antiquities, books, cultural artefacts and the legacy of Pratima Barua Pandey and the Gauripur royal family, reflecting the history, culture and folk music of the region. Bhumi Pujan for the renovation work was done in the presence of Chief Minister Himanta Biswa Sarma on January 2, 2023. (ANI)

(This story has not been edited by Devdiscourse staff and is auto-generated from a syndicated feed.)