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Glorious Past of Bhojpuri Music Industry
The Bhojpuri music industry, known for its rich and vibrant cultural heritage, has a glorious past with contributions from many notable artists and a variety of influential songs. Bhojpuri music, a form of Hindustani Classical Music, encompasses a broad array of performances in both traditional and modern styles. This music genre primarily originates from the Indian states of Bihar and Uttar Pradesh and has also spread to countries like Nepal, Trinidad and Tobago, Suriname, Guyana, the Netherlands, Mauritius, and other Caribbean Islands.
The origins of Bhojpuri music are somewhat unclear, but one of its earliest forms is the Nirguna, traditionally sung by Kabir. The music gained global exposure when Bhojpuri speakers were taken as plantation workers to British colonies, leading to its fusion with other musical forms and the creation of unique styles like Baithak Gana in Suriname, Chutney music in Trinidad and Tobago, and Geet Gawai in Mauritius.
The modern era of Bhojpuri music began in the 1950s with influences from Bollywood, and it further evolved with the release of the first Bhojpuri film, “Ganga Maiyya Tohe Piyari Chadhaibo”. The traditional music of Bhojpuri is often associated with special occasions like weddings, child births, and festivals, with specific songs for different seasons and caste-based communities.
Prominent Bhojpuri singers who have made significant contributions include Sharda Sinha, Kalpana Patowary, Malini Awasthi, Manoj Tiwari, Khesari Lal Yadav, Pawan Singh, Dinesh Lal Yadav, and many others. These artists have played a vital role in the growth and popularity of Bhojpuri music on a national and international level.
Some of the best Bhojpuri songs that exemplify the richness of this genre include “Kaun Disa Mein Leke Chala Re Batohiya”, “Sohar”, “Sonwa Ke Pinjra Mein”, “Kawana Birichhiya E Chirayi”, “Hey Ganga Maiya Tohe Piyari Chadhayibo”, and many others. These songs not only showcase the musical diversity of the Bhojpuri industry but also reflect its cultural depth and linguistic sweetness.
Rise of Vulgarity and Sleaziness in Bhojpuri Music Industry since 1990s
The decline in the quality of the Bhojpuri music industry since the 1990s is a multifaceted issue, deeply intertwined with socio-political, economic, and cultural factors. The emergence of low-quality singers and the proliferation of vulgar songs can be attributed to various reasons:
Rise of Low-Quality Singers and Vulgarity: The era post-1990s saw the rise of singers who, despite lacking traditional singing skills, gained popularity through vulgar songs. This trend was partly driven by the use of auto-tune technology, enabling individuals with limited musical ability to produce hit songs. Since the singers lacked musical talent they took the path of explicit sexual lyrics to sell their records. The intense competition to outdo each other in this race to vulgarity led to evolution of audio porn industry rather than a music industry.
Mandal Politics and Caste Influence: The wave of Mandal politics in Bihar during this period played a significant role. It led to the rise of singers who gained fame not for their musical talent but for their caste affiliations. This shift in the industry’s dynamics encouraged the production of songs that lacked quality and substance. Many singers got support from the masses because they belonged to certain castes, talent took a backseat.
Economic Conditions and Audience Demand: The economic downturn in Bihar and the production of a large number of laborers created a demand for cheap entertainment. Vulgar Bhojpuri songs catered to this audience, serving as a low-cost form of entertainment. Most of the migrant laborers who used to live far away from families in slums in metro cities used to listen to these crass songs as a form of sexual gratification.
Explicit and Sexist Lyrics: Many Bhojpuri songs from this era targeted women’s body parts, using explicit and derogatory language. The lyrics often symbolically referenced private parts, with the navel being used as a metaphor for the vagina. Some songs did not shy away from explicitly mentioning sexual organs, creating content that was akin to audio pornography. It’s impossible to count how many songs Bhojpuri music industry produced on women’s breasts alone. “Choli” and “ghaghara” had become part of lyrics of every second song in the industry.
Objectification of women: Objectification of women by entertainment industry is a global issue but Bhojpuri industry takes it to new heights. One of the biggest Bhojpuri hit songs in recent era had compared women to “lollipop”. But there have been far worse cases of objectification by singers in which private parts have been compared to fruits like mangoes and and sweets like rasgulla explicitly. These songs were often used for eve-teasing, with their sexist lyrics causing discomfort and distress in public spaces like streets and trains. The playing of such songs publicly made women feel uncomfortable, while some found pleasure in the distress it caused. Bhojpuri songs had become means to derive sadist pleasure by playing them publicly.
Singers like Guddu Rangeela became prominent names in this wave of vulgar music. Their songs frequently started with references to women’s clothing such as ‘choli’ (upper wear) and ‘ghaghara’ (lower wear), indicating the sexual nature of the content.
Cultural and Artistic Decline: This trend marked a significant departure from the rich cultural heritage and reformist themes that Bhojpuri music and cinema previously embraced. Earlier films like “Ganga Maiyya Tohe Piyari Chadhaibo”, which dealt with socially relevant issues like widow remarriage, were replaced by content that celebrated misogyny and sexism.
Resistance and Criticism: Despite the popularity of these vulgar songs, there has been a growing resistance and criticism from within the industry and the audience. Efforts are being made by some artists and cultural activists to revive the traditional and quality aspects of Bhojpuri music, countering the prevailing trend of vulgarity.
The decline in the Bhojpuri music industry is a reflection of broader societal and cultural shifts, and addressing this issue requires a concerted effort from artists, audiences, and cultural institutions. But, before the previous ills could be done away with, the new plague of casteism has plagued the industry.
Songs being produced specially for Orchestra Dances
One of the factors behind the deterioration in the quality of songs in the Bhojpuri industry is that many songs are being produced only for orchestra performances. They do not aim for a bigger market or adoption by movies. The sole aim is to cater to the rural orchestra-watching audience. Since the audience in these orchestra dances demands sleazy performances from the dancers, the lyrics of the songs are produced accordingly. The cost of production for such songs is low and therefore, there is a mass production of perverse lyrics and music.
Orchestra dances in Bihar have become a big menace in recent years due to an increase in the vulgarity of the performances, often bordering semi-nude to nude dances on makeshift stages in the rural belt of Bihar and Purvanchal.
Increasing Casteism in Bhojpuri Music Industry
This deep-rooted problem is adversely affecting the industry in several ways:
Caste-Based Fan Following and Conflicts: Singers in the Bhojpuri music industry are increasingly drawing their fan base along caste lines, leading to conflicts among different communities. Fans of different singers, belonging to specific castes, often engage in online and offline battles. For instance, the rivalry between fans of Pawan Singh (associated with the Rajput community) and Khesari Lal Yadav (associated with the Yadav community) has been noted.
Caste-Centric Songs and Market Appeal: Many songs in the industry are now being produced with explicit caste supremacy themes. These songs find a ready market in Bihar and Uttar Pradesh’s caste-conscious society. This trend is particularly popular among the new era “alpha” males, who are significant consumers of such music.
Incitement of Violence and Social Discord: Songs promoting caste supremacy or targeting other castes have led to physical confrontations in several areas. When songs of a particular caste are played in neighborhoods predominantly inhabited by another caste, it often results in street fights, aggravating the social discord.
Targeting Women of Other Castes: Bhojpuri caste supremacy songs often take sexist themes targeting women of other castes. It has become the cheapest and least risky denominator of asserting caste-based masculinity by certain sections. Women have become the softest target in the online/ offline caste battles and songs have become the easiest means of projection of the battles. It has a ripple effect and reactionary songs by other castes aggravate the problem manifold.
Government and Administrative Response: Despite the growing problem of casteism in the music industry, there seems to be a lack of adequate response from the government and the administration in Bihar. The need for legal and regulatory measures to curb casteism in music is evident yet largely unaddressed.
Recognizing the severity of the issue, Bhojpuri star Pawan Singh has appealed to the Chief Minister of Bihar, Nitish Kumar, for the enactment of laws to prevent the creation and dissemination of casteist songs. This appeal indicates the need for political and legal solutions to address the growing problem. But the government in Bihar seems to be on a sleep mode when it comes to taking any measure to curb and cure the menace. The repercussions are being faced by the common people of the state and the music industry.
Impact on Social Fabric: The proliferation of casteist content in Bhojpuri songs is not just an industry-specific issue; it has broader implications for the social fabric of the region. Not to forget, Bihar has suffered many caste-based conflicts and massacres just two decades ago. The entertainment industry of Bihar should work to foster unity in society instead of creating rifts between different castes.
The Path to Revival of the Bhojpuri Music Industry
The rejuvenation of the Bhojpuri music industry requires a multifaceted approach, addressing both supply and demand issues. The key lies in shifting consumer preferences and promoting a culture that values quality and responsible content.
Consumer Mindset and Taste: The transformation of the Bhojpuri music industry hinges on changing consumer preferences. As long as there is demand for vulgar and casteist songs, such content will continue to be produced. Educated sections of society, including influential community leaders and caste associations, must actively denounce the creation and consumption of these problematic songs. A societal shift towards appreciating quality and culturally enriching music is essential.
Talent and Quality Production: The Bhojpuri music industry is not devoid of talent. Several artists have produced national hits, capturing the fancy of digital platforms like TikTok and Instagram. These artists form the industry’s backbone. By harnessing this talent and attracting good investment, the industry can elevate its production standards, both in terms of music and video quality. This, in turn, can potentially place the Bhojpuri industry on par with thriving regional music industries like the Punjabi music sector.
Market Potential and Investment: With a high population in regions like Bihar and Purvanchal, there exists a substantial market potential. Investors are likely to invest where they foresee returns. A reformed and revitalized music industry, focusing on quality and diversity, could attract significant investments, boosting production and marketing capabilities.
Government Intervention and Regulations: The Bihar government can play a pivotal role in curbing the production and dissemination of vulgar, casteist, and misogynistic content. Implementing stringent laws and regulations, alongside setting up a monitoring mechanism to penalize production houses and artists who engage in creating harmful content, is crucial. This regulatory framework should aim to nurture a healthy and responsible entertainment environment.
Comparison with Other Regional Industries: It is noteworthy that other regional industries, such as Tamil, Telugu, Kannada, and Punjabi, have seen significant growth over the past three decades. They have produced internationally acclaimed movies like “Bahubali” and “KGF,” while the Bhojpuri film industry has yet to make a mark beyond its traditional boundaries. This comparison highlights the urgent need for strategic planning and execution to uplift the Bhojpuri industry.
Economic Factors and Industry Growth: Bihar’s economy plays a significant role in the music industry’s current state. Low purchasing power limits substantial investments, as potential returns appear constrained. Therefore, economic growth in Bihar is pivotal for the industry’s revival. As the socio-economic conditions improve, consumer preferences are likely to evolve towards more sophisticated and culturally rich content, moving away from cheaper, sensationalist entertainment forms.
In summary, the path to the revival of the Bhojpuri music industry lies in a collective effort encompassing societal change, talent nurturing, strategic investments, government intervention, and economic growth. This comprehensive approach can transform the industry, aligning it with the successes of other regional music industries and setting new benchmarks in cultural representation and quality.
