The Saraswati Mahila Bhajan Mandal, a group of women from Dhamanya village in southern Madhya Pradesh, spreads a powerful message through their soulful songs inspired by Sant Singaji Maharaj and Kabir.
Seated with their legs crossed in the lotus position, a group of women of varied ages engage in rhythmic clapping and swaying to the tunes of the harmonium and dholak. Their throaty voices ring out through the serene village of Dhamanya in Betul district of southern Madhya Pradesh.
The band jams at dusk to spread joy and enlightenment with their soulful Bhajans. These songs connect their personal and ancestral experiences with the teachings of saint poets Sant Singaji Maharaj and Kabir Das, addressing issues related to gender and class.
One of the dohas (couplets) from their repertoire reflects the essence of their message: “Pothi padh padh kar jag mua, pandit bhaya na koye/Dhai aakhar prem ke, jo padhe so pandit hoye” (Reading books won’t make anyone wise unless one reads a few words of love).
Indira Yadav, a 32-year-old who leads the band, shared her journey: “I didn’t have the opportunity to attend school. After marriage, my responsibilities revolved around taking care of my family and the cattle. When I saw men in our village forming a group to sing Bhajans, I realized that we, as women, could also give it a try. Many women came forward, providing us with a platform to discuss, analyze, and raise our voices against the injustices we face.”
Founded in 2019 with just four members, the Saraswati Mahila Bhajan Mandal has now grown to eleven active participants. Since its inception, the group has performed in various villages, driven solely by the desire to create awareness and inspire social change.
Music has historically been an important part of Indian folk culture – with mystical, rhapsodic verses of devotional music like Bhajan being an integral part of this tradition, performed when making supplications in temples, homes, and festivals.
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Madhya Pradesh has a centuries-old tradition of spoken poetry influenced by the dohas of Kabir, a 15th-century mystic poet. It is mournful in tone but lavish in lyrical symbolism – a style that Hindustani classical great Kumar Gandharva heard from wandering minstrels in Dewas of western Madhya Pradesh. He adopted the form and it made him both a rebel and a pioneer.
The women of Saraswati Mahila Bhajan Mandal find solace in music as a means to express their suppressed emotions and engage in self-education. Their voices echo across villages, conveying messages of gender inequality, caste and class discrimination, and other societal issues.
“Though I couldn’t continue my education, our music has allowed me to actively work for our community, giving me the opportunity to reach hundreds of thousands of people and raise awareness about important issues,” Saraswati, a member of the band who dropped out of school and now balances her role as a homemaker and band member, shared her perspective.
The journey of these women in singing was not without challenges. With no formal music training, performing in front of an audience did not come naturally to them. They faced the dilemma of finding musicians to play the harmonium and dholak.
One hurdle was overcome when a percussionist from a nearby village agreed to join the band. However, they had limited time for rehearsals due to their demanding household chores. They squeezed in practice sessions amidst their daily errands.
Two more obstacles had to be addressed. Travelling between villages for performances posed safety concerns, especially during the evening. None of the women knew how to drive, so they relied on male family members to accompany them.
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Financial constraints also presented a challenge. All their concerts are free. They had to cover their travel expenses and maintain their musical instruments, pooling in money from their modest savings.
Once the band found its harmony, there was no looking back. They now perform at least six times a year in neighbouring villages. “During the month of Sawan and religious festivals, we are invited to different villages. People listen to our Bhajans attentively, irrespective of their caste or religion,” said Ramkali Bai, a senior band member in her 60s.
“They are widely respected and known in distant regions. Their social songs inspire the younger generation to choose the right path, contributing to a positive village environment,” the village head, Pappu Ahok, highly praised the band.
The band’s music has become a catalyst for young brides in Dhamanya. Indira Yadav explained: “As our daughters leave for higher education, we focus on the women who come to our village through marriage. Anju Bai, a young woman who married into a family in our village, has infused new life into the group.”
Anju Bai is amazed by the band’s on-stage chemistry and their close bond behind the scenes. What started as a passion for music has transformed into an enjoyable platform for making a difference. She remarked: “When we perform, people internalise the values we convey.”
Their music remains deeply rooted in tradition, offering a soothing alternative to the flashy soundtracks and repetitive techno beats masquerading as Bhajans, which accumulate millions of views on YouTube.
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The lead image shows Indira Yadav learning to play the harmonium (Photo by Pooja Yadav)
Pooja Yadav is an independent writer from Madhya Pradesh. Please share your feedback at connect@charkha.org.
