A reel is viral on Insta. The loudspeakers at railway stations, on which shrill train announcements echo, become melodious from time to time. ‘Pahile-Pahle Hum Kaineni, Chhath Maiya Barat Tuhar…’ A few years ago, this Chhath song sung in the voice of Bihar Nightingale Sharda Sinha was released. This reel is very relaxing and people are sharing it. There are two reasons for sharing this. Firstly, the great festival of Chhath is related to the soul of the people of Bihar and the second reason is Sharda Sinha… without whom there are ‘couples of fruits’ in the soup, ‘Kache bamboo ke bahangi lachkat jaat ba’ and Chhath Ghat buzzing with fasting people chanting ‘Uga-Uga Ho Suruj Dev’, but Sharda Sinha herself is not there to see and hear all this.
On coming November 5, it will be one year since he passed away. With each passing time, she will become a memory and will remain alive on death anniversaries and memorial days, but new songs will not be added to the list of her melodious songs that enhance the beauty of Chhath Ghats.
Sharad Sinha…Third type of unique music
Those who understand music believe that there are two types of music, one which becomes your companion in sorrow, consoles, gives courage and encourages you. The second music is the one that doubles your happiness and enthusiasm… but, the ears in which Sharda Sinha Those who have dissolved the juice and whose seething syrup has become like syrup in their hearts, know that there is a third type of music also. That music, listening to which you can cry without feeling sad and even in a happy atmosphere, that too without making the atmosphere sad.
The music that does not trigger any trauma hidden within you, but secretly caresses it, heals the wounds within and in many cases makes you so happy that tears of joy come to your eyes. This magic is the magic of folk music and Sharda Sinha was undoubtedly a magician who knew this magic.
Acharya Rambhadracharya often sings a bhajan/thumri in his Ramkathas, ‘Aaj Mohe Raghubar Ki Sudh Aayi’, people also like it, but actually it was sung by Sharda Sinha in one of her old albums. He gave its live presentation on the occasion of ‘Jashn-e-Adab’ held in the year 2021. There is an interlude in the bhajan, the meaning of which is such that it is the month of rain (Saavan-Bhadon), it is raining heavily and in the palace of Ayodhya, Kaushalya is sitting at the window with sad eyes remembering Ram-Lakhan. Look at her concern, she says…
‘Saavan roared and rained,
the wind blows east
Who has become more like a tree?
Siy along with two brothers.
Mohe Raghubar came to mind…’
Chhath is not included in the fasting tradition of my family, but having grown up in Gorakhpur, I have a very close connection with this great festival. So much so that Chhath seems to be a festival happening in one’s own home and since childhood, I have found myself associated with the gourd rice of Nahay-Khay, the Rasiyaur-Roti of Kharna and the Mahaprasad Thekua which is available at the ghat after sunrise on the last day.
Sharda Sinha’s songs have been further strengthening this bond, which were filled with such deep and touching emotions. He has a song, ‘Kelwa Ke Paat Par’, in this song there is a conversation with a woman fasting for Chhath. Another woman is repeatedly asking her why she is fasting. For whom will this fast be fruitful? Who will be worshiped with this fast? In answer to all these questions, the woman observing Chhath tells about worshiping Sun God and says that this fast will be fruitful for her children. It is worth noting here that the song talks about children and not just the son.
Because the last stanza of the song talks about the daughter getting the fruits of the fast as strongly as the first stanza talks about the son.
,On the leaves of Kelva, suruj pee peeped out.
Ho Karelu Chhath peeped from Baratiya
I asked you, Baratiya, O Baratiya, I started crying.
Hamro je betwa pawan aisen betwa se hai lagi
Ho Karelu Chhath for them from Baratiya…’
(Meaning: Suryadev, who has grown under the cover of banana leaves, is peeping at the Chhath vrats who are worshiping him. But, why are you worshiping, for whom? The vrat says that you are doing this fast for your son who is as fickle as the wind, see how his life will be improved by this. Suryadev is listening to Chhathvarti’s words and says that it will be like this. This fast is for my daughter, who is as fickle as the wind like my son, Keep watching how his life will change with the blessings of Suryadev.)
Most of the North Indians leave for home on the occasion of Diwali, but the people of Bihar, who have become a part of the corporate world of Delhi-Mumbai, Pune-Bangalore, within whom the lamp lit on the altar of Chhath flickers, can be seen sacrificing all their holidays throughout the year, so that at least they can be among their home, their family and their people on the occasion of four days of Chhath. Those who are unable to go despite all this, Sharda Sinha’s songs try to make them face it.
His melodious voice has not just become an integral part of Chhath, but the pain of the migrants has emerged from his voice in such a strong voice that many times these Chhath songs do not just appear to be a prayer for Chhath Maiya, rather they become the voice of revolution, a call to return home. The Chhath song he released just a few months before his demise was Kuch Aisi Hey Dard, Aisi Hi Aas Ka Bayana. In which the sorrow of a Chhathi vrat, his pain, his hope and his faith, everything was included.
Listening to “Dukhwa Mithai Chhathi Maiya, Raua Asara Hamar” (Mother Chhathi, take away our sorrows, you are our hope) feels like a magical ritual in itself.
Sharda Sinha and folk literature of Bihar
However, it would be unfair to limit Sharda Sinha’s art only to Chhath. His important contribution has also been in popularizing Bihari literature among the masses, in which he made famous writers and poets famous by singing their songs. He gave a strong identity to folk literature. Mahendra Misir, who is known as Purabiya Badshah, Sinha immortalized many of his songs with his voice, like Hamani Ke Rahab Jaani, Dunu Ho Praani. In this song, a wife asks her husband who is going for work, you are leaving, who will take care of me here?
From Maithili poet Vidyapati to Mahadev Halwai… Sharda Sinha made his works immortal.
This work based on alienation due to migration is still relevant in Bihar, and Sharda Sinha’s voice beautifully captures the compassion and tolerance in it. He gave voice to the works of poets like Bhikhari Thakur (known as Bhojpuri’s Shakespeare), Mahadev Halwai, Ram Sakal Singh, Naresh Sinha, and Vikas Samastipur, and decorated them with tunes. He also popularized the literature of 14th century Maithili poet Vidyapati through his singing.
In one song, a woman tells the crows cawing in her courtyard that if her husband returns, she will cover his beak with gold, again giving expression to the pain of exodus and migration from Bihar. Sharda Sinha was awarded Padma Shri in 1991 and Padma Bhushan in 2018 for her immortal songs and singing for bringing these creations of folk poets into the mainstream.
Sharda Sinha associated with every ritual
Sharda Sinha sang songs for every ritual associated with marriage ceremonies. From haldi, tilak, wedding, lava merai to the bride’s farewell and door-stepping. In these songs, the pain of the newlyweds, their excitement, their shame, their happiness and the dreams woven within them have found their voice.
In an old album ‘Piritiya’, he sang a famous socialist Bhojpuri song, in which a woman laborer tells the landlord that she will no longer work for him, because he sends her son to school while his son grazes his buffaloes. Apart from singing in Bhojpuri, Maithili, Magahi, Sharda Sinha also sang for Hindi films. Will you ever be able to forget that iconic song of Karva Chauth, ‘Kahe Tose Sajna’, which beautifully explained the real meaning, religion and deeds of Karva Chauth.
Sharda Sinha was born on October 1, 1952 and till her death last year, she remained dedicated to folk songs and music. His songs give real meaning to Bihari identity and say that Sharda Sinha has not gone anywhere, she is in birth, in congratulations, in love, even in separation. They are there in marriage, in difficult times and even in death. Just today, when Supali, Daura, Bahangi, Dagra are being decorated and preparations are being made to take them to Chhath Ghat, I am remembering Sharda Sinha, she is heard but not visible, I wish! Had she been there…
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