Prakash Premi
Folk literature is the living expression of a community’s collective mind and memory, shaped and preserved not in books but in voices, gestures, and shared experiences. It includes folk songs, folktales, ballads, proverbs, riddles, and devotional compositions, passed from one generation to the next through oral tradition. It is spontaneous, fluid, and deeply rooted in everyday life.
In regions like Duggar, folk literature finds its most natural expression in fairs, festivals, seasonal gatherings, and family celebrations such as marriages. It is sung in fields, narrated in courtyards, and performed in open spaces, carrying within it the emotional and cultural essence of the people. It is not merely a form of entertainment but a medium through which history, values, and identity are continuously shaped and transmitted.
Udhampur: A Distinct Cultural Landscape
Within the Duggar region, Udhampur district occupies a place of remarkable importance. Its varied terrain-stretching from plains to undulating hills-has fostered a rich diversity of cultural expressions. Each area contributes its own dialect, rhythm, and style, yet all remain connected through a shared cultural consciousness.
What makes Udhampur exceptional is the vitality of its traditions. Folk forms here are not confined to memory; they are actively performed, lived, and renewed. The district emerges as a vibrant cultural space where tradition is neither static nor fading but continuously evolving through participation.
Bhakh: The Power of the Human Voice
Among the most striking traditions of Udhampur is Bhakh, a unique form of singing performed without any musical instruments. In this genre, the human voice alone becomes the instrument, creating melody, rhythm, and resonance through careful modulation.
Two prominent forms of Bakh are widely practiced:
Hucchi Bakh, marked by a higher pitch and energetic delivery
Lammi Bakh, characterized by elongated and flowing melodic patterns
Typically performed by a group of five to eight singers, Bhakh demands a high degree of coordination and vocal control. The singers weave their voices together in harmony, producing a powerful collective sound that captivates listeners.
A celebrated name associated with this tradition is Shri Duda Ram from Ramnagar, whose performances, along with his troupe, have reached audiences far beyond the region. Their presentations in countries including those in Europe have drawn admiration, demonstrating the universal appeal of this purely vocal art.
Geetaru: the dancing song
In contrast to the simplicity of Bakh, Geetaru presents a more elaborate and dynamic form of expression, combining music, rhythm, and dance. It is among the most popular and visually engaging folk traditions of Udhampur.
A Geetaru performance usually involves ten to fourteen participants, arranged in a semi-circle. The group is often divided into two sections. A lead singer initiates the song, and the others follow in a structured pattern of repetition, creating a rhythmic flow. At the center, two or three performers dance, adding movement and visual energy to the performance.
The use of traditional instruments enhances the richness of Geetaru. These include:
Dholak, Chimta (locally called Chinta), Chhani, Flute
The district has produced several distinguished artists in this form, Padma Shri Romalo Ram, Paras Ram, Jai Dev Pardesi, and Saras Bharti. Their contributions have carried Geetaru to wider audiences, both within the country and beyond, ensuring its continued relevance.
Songs of Labour: Music in Everyday Toil
In the agrarian life of Udhampur, music is not separate from work; it is woven into it. Labour songs, known as Shram Parihark songs, are sung during agricultural activities, especially in the hilly regions where physical labour is demanding.
These songs serve multiple purposes-they reduce fatigue, create rhythm in collective work, and strengthen bonds among workers. Different types of songs are associated with specific tasks:
Hanse or Garlodi, sung during activities like dragging, usually consisting of short, repetitive lines
Saee-Haff-Has, sung while hoeing maize fields, matching the rhythm of the task
Through these songs, labour becomes not just a necessity but a shared and expressive experience.
Devotion and Celebration in Song
Folk traditions in Udhampur are deeply intertwined with faith and social customs. Devotional songs, such as Bishan Pade and Bhetan, are sung in praise of deities and form an integral part of religious gatherings. They reflect a blend of spiritual devotion and local storytelling, giving them both emotional and cultural depth.
Similarly, marriage songs like Suhaag and Ghorian hold a special place in wedding ceremonies. These songs accompany various rituals, expressing joy, longing, and the emotional transitions associated with marriage. They connect individual experiences with collective cultural practices.
Narratives of Memory: Tales, Ballads, and Wisdom
The oral tradition of Udhampur extends beyond songs into a rich world of storytelling. Folktales and ballads preserve the memory of past events, heroic deeds, and moral lessons.
Bars, or war ballads, recount stories of courage and valour.
Narratives of local deities and heroes such as Baba Jitto, Raja Mandaleek, and Data Ranpat are performed through Karak, keeping their legacy alive in popular memory
Alongside these narratives are shorter yet equally significant forms of expression:
Proverbs and sayings, which convey practical wisdom
Riddles, locally known as Phalonian, which reflect wit and intellectual playfulness
These forms enrich everyday communication while preserving cultural knowledge.
The question before Udhampur is no longer whether these traditions are rich or remarkable-their worth is beyond doubt. The real question is whether the coming generations will inherit them as living practices or encounter them only as archived echoes. Folk traditions do not survive through admiration alone; they endure only when they are performed, shared, and made meaningful in contemporary life. If the voices that carry Bakh fall silent, if the rhythms of Geetaru cease to gather people into a circle, and if the stories of Baba Jitto and others are no longer spoken aloud, then an entire way of seeing and understanding the world risks being diminished. The strength of Udhampur’s folklore has always lain in participation, not preservation in isolation. Its future will be secured not in museums or documents, but in the willingness of its people to continue singing, telling, and living these traditions-turning inheritance into continuity.
(The author is a Sahitya Akademi Award Winner and State Award Winner)
The post Echoes from the Hills The Living Folk Traditions of Udhampur appeared first on Daily Excelsior.