Geeta Parag, who forms the ‘Saas Bahu ki Jodi’, a trio of bhakti (devotional) singers along with her mother-in-law and daughter in Madhya Pradesh, overcomes social dictates and inspires young women and girls to embrace their musical heritage.
Geeta Parag graced the audience in Bisalkhedi village of Dewas district in Madhya Pradesh with a humble namaste, marking the beginning of a Satsang — a sacred session of singing bhajans and kirtans (religious songs). As the melodies filled the air, Bhakti singers Geeta, her mother-in-law Leela Parag and daughter Tanu Parag led the congregation on a spiritual journey through the timeless verses of saints like Kabir, Mirabai, and Ravidas.
The trio, affectionately known as the “Saas Bahu Ki Jodi”, proudly encompasses three generations of musical talent.
Geeta’s path to musical fulfillment has been anything but easy. Hailing from a small village in the Malwa region of Madhya Pradesh’s Shajapur district, where societal norms often dictate gender roles, 39-year-old Geeta faced formidable challenges in pursuing her passion for singing.
“I couldn’t even lift my ghoonghat,” she said while recalling moments of adversity, including a chilling night when she was locked out of her own home by her husband, simply for returning late from singing bhajans at an event.
Reflecting on her journey, she said: “Forget singing, I couldn’t even grasp the words of these saints. My mother-in-law has always been a Kabirpanthi (a devotee of Kabir). She would wake up at five in the morning to play bhajans. As a young woman, I didn’t appreciate them. Eventually, I developed an interest.”
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With a repertoire spanning 400-500 bhajans, her life has undergone a melodious transformation over the past 15 years.
Geeta’s initiation into Bhakti singing happened during an event in her village. Kabir singers requested her mother-in-law to sing a bhajan and Geeta joined her on the vocals. Their performance received praise, inspiring them to sing more often.
Performing on stage remained a distant dream until Padma Shri awardee Kabir singers Prahlad Tipania and Kaluram Bamania intervened.
“When we visited her home for a teaching session or a night of devotional songs, her husband would leave, exclaiming, ‘They’ve come again to disrupt the peace of our home’, and would return after the event’s conclusion. We worked with her for 12 years, teaching her everything from stage presence to discarding the ghoonghat. It’s immensely satisfying to see her travel across the country to perform,” Bamania said.
A pivotal moment came in 2008 when her singing in Dewas received acclaim from esteemed Kabir scholar and former Stanford professor Linda Heiss, instilling a newfound confidence in her abilities. “I had not formally learned music or singing. I always had this feeling that I was not good. But people’s faith in my abilities increased my confidence,” Geeta said.
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However, things at home remained difficult, with detractors questioning her husband’s support for her public performances. “Initially, he was influenced by those people. ‘People did not even leave Mirabai alone, who are we?’ he remarked. As I continued to perform and gained recognition, he gradually came to understand the virtue of spreading Kabir’s thoughts and teachings through music,” Geeta said.
Bhakti singing has long been hindered by entrenched gender roles, relegating women to domestic responsibilities and leaving little room for personal pursuits. Despite the illustrious history of women singers and poets, including luminaries like Mirabai, Akka Mahadevi, Janabai, Andal, and others, the domain of Bhakti music has predominantly been monopolised by men.
However, Geeta’s journey embodies the broader societal shift towards gender equality and empowerment. “Things are changing now,” asserted Bamania. “Once understanding dawns, acceptance follows. Even if her veil slips or she speaks a bit loudly now, she remains unfazed. Many women have found inspiration through Geeta’s journey,” he said.
The Parag family, immersed in farming, initially struggled to find time for musical practice amidst their demanding agricultural duties. After an exhausting day toiling in the fields, Geeta and her mother-in-law carved out precious moments in the evening to indulge in their shared love of music.
As Geeta’s passion for singing and performing grew, their routine began to shift. She gradually relinquished her farming duties, entrusting the fields to hired labourers. This transition allowed her to dedicate herself fully to her art.
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Geeta’s ascent as a respected Bhakti singer has paved the way for other women to reclaim their musical heritage. Her influence has sparked a wave of interest among women and young girls to embrace the soul-stirring melodies of Bhakti singing. Following in her footsteps, her daughter has also developed a genuine passion for music, perpetuating the legacy of musical devotion across generations.
Moreover, Geeta’s husband has joined her on stage, accompanying her with the Nagari, a percussion instrument, in a gesture of solidarity and support to the Bhakti singers. Their collective embrace of musical pursuits signals a profound shift within their family, epitomising the transformative power of harmony and unity.
The lead image shows three-generations of Bhakti singers, Geeta, her mother-in-law Leela Parag and daughter Tanu Parag performing during an event.
Unnati Sharma is a journalist, writer, and translator. She has worked with ThePrint as a Senior Correspondent specialising in politics, in-depth features, and art and culture stories.
