The Legacy of Bhikhari Thakur - International report.

The Hon. Prime Minister - Mauritius - Mr Anil Kumar BACHOO, g.o.s.k,

Kalpana Patowary & Minister of Arts & Culture - Mauritius - Mr. Mookhesswur CHOONEE. 

The Legacy of Bhikhari Thakur - A Review

samaIxaa -

BaaojapurI BaaYaa AaOr iBaKarI zakur ek doh dao p`aNa ko jaOsao hO. caaolaI–damana ka sambanQa hO… BaaojapurI BaaYaa AaOr iBaKarI zakur maoM. iBaKarI zakur BaaojapurI BaaYaa AaOr saMgaIt kI phcaana¸ Saana hO¸ gaumaana hO… laoikna iBaKarI zakur kI phcaana kI ivaSva pTla pr laanao ka Eaoya¸ klpnaa kao jaata hO.

iBaKarI zakur ko k[- naaTkaoM jaOsao: ivadoiSayaa¸ klayauga p`oma¸ baoTI baocavaa¸ gabar ibacaaor¸ raQaoSyaama bahar Aaid sao laaokip`ya gaItaoM ka cayana kr ek elabama “yao laogaosaI janaka iBaKarI zakur”¸ ijasanao ivaSva str pr irilaja ikyaa hO… yah pUro BaaojapurI samaaja ko ilae gaaOrva kI baat hO. iBaKarI zakur ko gaItaoM kao gaakr klpnaa tao Qanya hao ga[-. BaaojapurI BaaYaa evaM saMgaIt kao BaI Qanya kr ga[-.

sacamauca klpnaa nao klpnaa sao pro ek Ad\Baut kaya- ikyaa hO. ijasa kaya- kao Aaja tk BaaojapurI ko gaayak–gaaiyakaAaoM nao nahIM ikyaa. vah klpnaa kr ga[-. Asama kI baoTI klpnaa ibahar kI cahotI AaOr dulaarI bana ga[- hO. iBaKarI zakur ko gaItaoM kao gaakr. saaocata hO tao lagata hO¸ yah kaya- iktnaa kzIna qaa. iBaKarI zakur kI rcanaaAaoM ka saMga`h krnao ko ilae Kud klpnaa¸ “iBaKarI zakur kI maMDlaI” ko jaIivat sadsyaaoM sao imalaI¸ ]nasao zIk ]saI AMdaja maoM ]na gaItaoM kao gavaayaa… ijasa AMdaja evaM QaUna maoM iBaKarI zakur kI maMDlaI ko klaakar gaato qao. [sa kaya- maoM ]sao dao saala laga gayao. laoikna klpnaa nao ek saMklp ilayaa qaa¸ kuC kr gaujarnao ka. eosaa jaunaUna¸ eosaI lagana AaOr ek p@ka [rada¸ klpnaa maoM hI hao saktI hO.

klpnaa ka saMklp rMga laayaa AaOr Aaja vah laaok–kMz maoM rcanao–basanao jaa rha hO. [sa mahana kaya- ko ilae klpnaa kao baQaa[- AaiSavaa-d AaOr saaQauvaad¸ vah BaI ivaSaoYa $p sao @yaaoMik iBaKarI zakur hmaarI BaI AadSa- hOM AaOr rhoMgao AaOr Apnao AadSa- kao eosaI baulandI pr doK kr maMjaula mana kOsao nahIM GaUmaogaa.

elabama ko kuC gaItaoM jaOsa: Dgairyaa jaaohna naa¸ caaoiryaa sao Coiryaa banavala hao baabaUjaI¸ pD,la baanaI inasa[la ko plavaa hao¸ kao klpnaa nao [sa AMdaja maoM gaayaa hO ik saIQao klaojao kao baoQa jaata hO. AMdr sao fUT pD,ta )dya. klpnaa kI gaaiyakI maoM AaOr kMz maoM jaao Baaojapuiryaa Taona hO¸ vah [-SvarIya hO… maOM tao eosaa hI maanata hUM. raQaoSyaama bahar sao pnaGaT ko p`saMga vaalaa gaItaoM kI p`stuit baojaaoD, hO¸ laoikna [na gaItaoM maoM kaorsa rKnaa ja$rI qaa¸ ijasao klpnaa nao Akolao gaayaa. “gavar iCcaaor” vaalaa gaIt¸ A[sana ilaKla krma maoM ivaQaata¸ kao klpnaa bahut AcCa gaayaa hO. laoikna yah gaIt pu$Ya svar ka¸ ijasao klpnaa nao Kud svar idyaa. saaja–vaaja¸ tbalaa–Zaolak¸ harmyauinayama¸ AaOr saarMgaI hI rK gaItaoM kao irkaD- ikyaa hO. iBaKarI zakur kI maMDlaI maoM jaao saaja bajato hOM¸ vahI saaja bajato qao¸ vahI saaja rKo gayao hO¸ [sasao maaOilakta spYT JalaktI hO.

AMt maoM klpnaa ko ilae yahI khUMgaa ik “tumanao ek AnapZ, hIrao kao kaoihnaUr banaa idyaa¸ iBaKarI zakur kao maSahUr banaa idyaa. iBaKarI zakur pr banaa yah elabama BaaojapurI kI qaalaI hO. BaaojapurI ka svaaiBamaana hO klpnaa tU BaaojapurI @vaIna hO¸ hmaarI Saana hO

maaotIlaala maMjaula

Lok kalakar Bhikhari Thakur by Anil Ojha Neerad.

Ainala AaoJaa naIrd–kaolakata

baat iBaKarI zakur kI hO AaOr BaaojapurI BaaYaa Apnao kao gaaOrvaainvat mahsaUsa nahIM kroM¸ eosaa hao nahIM sakta. yah AklpnaIya hO. iBaKarI zakur BaaojapurI ko ]sa vyai@t nahIM¸ vyai@t%va ka naama hO¸ ijasanao BaaojapurI BaaYaa kao ]sa jamaanao maoM BaI maMca kI BaaYaa bananao ka gaaOrva p`dana ikyaa¸ ijasa jamaanao maoM gaaMva maoM BaI saaQaarNa pZ,–ilaKo laaoga BaI¸ jaba rasto maoM¸ baajaar maoM¸ yaa Apnao drvaajao dlaana baat krnao maoM Sama- mahsaUsa krto qao. [sao AnapZ,–gavaaraoM kI BaaYaa maana kr [saka Kulao maoM p`yaaoga krnaa¸ ]nakao¸ Apnao AiSaixat AaOr ipCD,o haonao ka ehsaasa krata qaa.

AaOr eosao samaya maoM BaI iBaKarI zakur kao Apnaa [sa baaolaI kao¸ maMca kI BaaYaa banaanao maoM ja,ra BaI iJaJak nahIM hu[-. hlaaMik iBaKarI kao[- pZ,o–ilaKo vyai@t nahIM qao¸ ]nhaoMnao tao Kud kha BaI hO ik

“pZ,o–ilaKo ko hala naa jaanaI¸ pt raK Saarda BavaanaI”

iBaKarI ]sa Gar maoM pOda huyoa qao¸ ijasao ]nako gaMva[- samaaja maoM prjaa–pvanaI ka djaa- p`aPt qaa. vah naa[- jaait maoM pOda hue qao ijasaka kama laaogaaoM kI mauFt hjaamat banaanaa qaa¸ Kasa kr Apnao jajamaainaka ko Aaohdodar laaogaaoM ka AaOr [sako evaja maoM ]nako pirvaar kao imalata qaa¸ vaYa- maoM dao baar KotaoM maoM pOda haonao vaalaI fsalaaoM ka ek baMQaa baMQaayaa¸ AaOr SaadI–ivavaah Aaid saMskaraoM maoM kuC naoga. jaba [sa doSa maoM Dak Gar nahIM qao¸ tba tk tao gaaMva Gar kI icaiz\zyaaM tk ek sao dUsaro gaaMva tk phuMcaanao ka kaya- BaI [nhIM ko Kanadana ko laaogaaoM ka puStOnaI poSaa qaa¸ vah BaI raobadar laaogaaoM kI icaz\zI mauFt AaOr ]sasao naIcao tbako ko laaogaaoM kao pOsao dao pOsao naoga pr.

[sa pirp`oxya maoM Aapka saaocanaa jaayaja hO ik ifr eosao pirvaar ka laD,ka AaiKr kOsao [tnaa baD,a laaok klaakar bana gayaa. [tnao naaTk¸ [tnao gaIt ilaK gayaa¸ gaayaa BaI¸ naacaa BaI¸ AiBanaya ikyaa AaOr gaaMva kI gaMva[- BaaojapurI baaolaI kao SahrI AaOr nagaraoM tk phuMcaa idyaa¸ vah BaI maMca pr. jabaik tba tk BaaojapurI BaaYaa isanaomaa kI BaaYaa BaI nahIM bana pa[- qaI. yah iBaKarI zakur AaOr ]nakI laaokip`yata kI hI dona hO ik BaaojapurI kao isanaomaa kI BaaYaa banaanao pr baad maoM laaogaaoM nao saaocaa¸ [sa pr kama ikyaa AaOr [sa isanaomaa ko janak banao¸ ihndI iflmaaoM ko mahana klaakar¸ pr mana–imajaaja sao KaMTI Baaojapuiryaa rho¸ janaaba najaIr husaOna saahba iBaKarI zakur ka pZ,a–ilaKa haonaa tao dUr¸ ]nhoM k[- vaYaao-M tk Axar &ana BaI nahIM huAa qaa. ]nhaoMnao Kud BaI kha hO ik…

“nava bairsa ko jaba hma ga[naI ivaVa pZ,na paz pr ga[naI¸

ek bairsa lao jabadla mait ilaKo naa Aa[la rayaa gaIt..

AaOr ApnaI [sa ijandgaI kI jalaalat sao tMga Aakr iBaKarI zakur ek idna Apnaa Gar CaoD, kr Baaga jaato hOM AaOr phuMcato hOM baMgaala ko maodnaIpUr… vahaM phlao tao Apnao jaIivakaopaja-na ko ilae vahI Apnaa puStOnaI poSaa Ai#tyaar krto hOM. pr baad maoM baMgaala kI klaa%mak ]va-ra BaUima¸ ]nako mana maoM iCpo klaakar kao jagaatI hO¸ iJaMJaaoD,tI hO¸ jaba vah¸ vahaM phlaI baar ramalaIlaa doKto hOM¸ ifr baMgaala kI p`isaw naaTk pwit jaayaa doKto hOM AaOr Apnao mana maoM BaI kuC vaOsaa hI krnao kI klpnaa palanao lagato hOM¸ ifr @yaa qaa¸ laaOT pD,to hOM Apnao gaaMva AaOr vahaM Aakr phlao tao Apnao ima~ Bagavaana dasa bainayaa sao Axar &ana p`aPt krto hOM¸ kuC ilaKnao pZ,nao BaI isaKto hOM AaOr ifr AQyayana krto hOM tulasaIdasa kRt ramacairtmaanasa kI.

AaOr ifr saakar hao jaatI hO ]nako mana kI klpnaa. Apnao daostaoM ko saaqa KD,I krto hOM ramalaIlaa maMDlaI¸ ipraonao lagato hOM Apnao mana BaavaaoM kao ApnaI BaaYaa maoM ramacair~ ko naayakaoM ka saMvaad¸ gaana AaOr ifr haota hO ek idna maMcanaa pUra gaaMva sarah ]zta hO. haOsalaa baZ,ta hO. pr maata–ipta kI vaja-naa baaQak banatI hO. pr Aba tao klaakar ko mana kao pMK laga gayao haoto hOM. [na saarI vaja-naaAaoM ko baavajaUd vah klaakar ivad`aoh krta hO¸ klaakar ivad`aohI nahIM huAa tao klaakar kOsaaÆ saao Aba banatI hO naaja maMDlaI… Sau$ haoto hOM naaTk ilaKnao ko isalaisalao. ek ko baad dUsara¸ tIsara¸ caaOqaa ifr jaanao iktnao. haonao lagato hOM maMcana. imalanao lagatI hO saflata… naaTkaoM kao¸ gaItaoM kao AaOr ek idna bana baOzta hO yah klaakar¸ BaaojapurI ka Ap`itma laaok klaakar. tba na jaakr ek idna Baart AaOr duinayaaM ko tkrIbana dja-na Bar BaaYaaAaoM ko &ata¸ parMgat ivawana¸ rcanaakar ivacaark¸ inamaalaaocak¸ laoKk pM• rahula saakR%yaayana kao khnaa pD,ta hO ik “iBaKarI zakur tao BaaojapurI BaaYaa ko Sao@sapIyar hO.

AaOr [saI BaaojapurI ko Sao@sapIyar ko naaTkaoM sao kuC cauinanda gaItaoM kao laokr ivaSva pTla pr rKnao calaIM hO “klpnaa pTvaarI jaI”.

klpnaa pTvaarI nao yah bahut hI saahsa ka kama ikyaa hO¸ karNa iBaKarI zakur ko gaIt naa tao AaQauinak ksaaOTI ko hO¸ naa hI ]namaoM kao[- AaQauinakta baaoQa hO. AaQauinakta sao maora ta%pya- Aaja kI fOSana prst AaOr piScamaI saByata kI trf laalaa[it¸ BaagatI¸ iKMcatI AaQaUinak pIZ,I sao hO. iBaKarI zakur ko gaItaoM maoM tao t%kailana BaaojapurI gaMva[- samaaja kI ]na dUiYat vyavasqaaAaoM kao jaIvaMt Baava sao ]kora gayaa hO ijanamaoM prmpra ko naama pr t%kailana saByata AaOr saMskRit ko naama pr¸ naarI ka ]%pID,na AsaM#ya trh sao ikyaa gayaa hO. iBaKarI zakur nao Apnao naaTkaoM¸ ivadoisayaa¸ baoTI baocavaa¸ Baa[- ivaraoQa¸ gabariQacaaor¸ pu~baQa Aaid ko maaQyama sao Apnao xao~ ivaSaoYa kI tsvaIr eosaI KIMcaI hO AaOr ]nakI maMcana [tnaa jaIvant ikyaa hO ik lagata hO Apnao samaaja ko saamanao ]naka Aa[-naa banaa kr rK idyaa hO Apnao hr naaTk maoM samaaja ko t%kailana zokodaraoM ko mauMh pr KIMca–KIMca kr tmaacaa jaD,a hO.

AaOr Aba ]na naaTkaoM sao ]sa trh ko gaItaoM kao cauna kr Agar Aaja ko idna klpnaa jaI [nhoM naa isaf- AaQauinak samaaja ko saamanao bailk pUro ivaSva ko saamanao Apnao AMdaja, maoM nayao saMgaIt ko saaqa Agar rKnao jaa rhI hO tao maOMnao galat @yaa kha ik yah baD,o saahsa ka kama hO.

vaOsao¸ [samaoM kao[- dao raya nahIM ik klpnaa jaI Apnao jaIvana maoM BaI ek saahisak maihlaa hOM… jaOsao iBaKarI zakur AnapZ, haoto hue BaI BaaojapurI ko AnagaZ, hIra hO¸ vaOsao klpnaa jaI BaI Kud ek BaaojapurI xao~ ³Asama´ kI haotI hu[- BaI ijasa trh sao BaaojapurI gaItaoM kao gaanao ka p`yaasa ikyaa hO yaa gaa laotI hOM¸ ]sasao tao yah khnaa khIM sao BaI galat nahIM haogaa ik vaao BaaojapurI gaayakI¸ Kasa kr maihlaa gaayakI kI¸ Aaja ko samaya kI¸ kMgaUra hOM¸ gauMbad hOM.

bahut hI saundr jaugalabaMdI haogaI¸ Aaja ko saMdBa- maoM laaok–klaakar iBaKarI zakur banaama laaokgaaiyaka klpnaa pTvaarI. ek trf haogaI BaaojapurI maanasa kI t%kalaIna jaIvant tsvaIr AaOr dUsarI trf Aaja kI BaaojapurI sauraoM kI maillaka kI Aavaaja, AaOr ]naka jaadU. klpnaa jaI svat: p`oirt Agar [sa BaaojapurI ko mahana saaih%yakar¸ klaakar kI trf JaUkIM hO AaOr ]nako gaItaoM kao puna: nayao saMdBa- maoM jaIvaMt krnao ka baID,a ]zayaa hO tao yah khnaa galat nahIM haogaa ik ]nhaoMnao ek mahana saaQanaa kI trf Apnao kdma baZ,ayaa hO AaOr BaaojapurI samaaja kao ek Anamaaola Qaraohr donao jaa rhI hO. maorI trf sao ]nhoM saaQauvaad² baQaa[-²² AaBaar²²

Ainala AaoJaa naIrd

28À4 BaOrva d<aa laona¸

naMdIbagaana¸ salaikyaa¸

havaD,a–711106

maaobaa[la : 09830057686

Ithash Purush Dr Bhupen Hazarika aur Bhikhari Thakur ko Shradhanjali.

[ithasa pu$Ya Da^• BaUpona hjaairka AaOr iBaKarI zakur kao EawaMjalaI

भिखारी ठाकुर के प्रति संगीतमय श्रद्धांजलि

mana kI baatoM 

दोस्तों, मैं कल्पना हूं। वही कल्पना जिसे आपने भोजपुरी गाना गाते हुए सुना है। आज अपना बिहार के माध्यम से आप सभी के साथ कुछ विचार साझा करना चाहती हूं। संगीत मुझे अपने पिता विपिन पटवारी से विरासत में मिला है। मैं मूल रुप से आसाम के ग्वालपाड़ा जिले की रहने वाली हूं, जहां की लोकगायकी परंपरा भी बहुत समृद्ध है। पापा रेडियो आर्टिस्ट थे और उनके कारण मैंने 3 साल की उम्र से ही गाना सीखना प्रारंभ कर दिया। फ़िर पापा ने मेरी दिलचस्पी को देखते हुए शास्त्रीय संगीत सीखने को प्रोत्साहित किया। यह मेरे संगीतमय जीवन का वास्तविक प्रारंभ था।

समय के साथ मैंने आसाम के लोकगीत के अलावा पाश्चात्य संगीत शैली पर आधारित गाने गाये। लोगों ने खूब सराहा। तब लोगों की सलाह मानकर मैंने भी कैरियर संवारने मुंबई चली आई। मेरा पहला म्यूजिक एलबम वेस्टर्न म्यूजिक पर आधारित था। बाद में मैंने क्षेत्रीय भाषाओं में गाने गाये। वर्ष 2002 में मेरा साक्षात्कार भोजपुरी से हुआ।

मेरा पहला भोजपुरी एलबम होली गीतों पर आधारित था। जिसके बोल द्विअर्थी थे। हालांकि तब मुझे इसकी जानकारी नहीं थी। मसलन एक गाने में पिचकारी शब्द का इस्तेमाल किया गया था। यह शब्द आसाम में भी लोकप्रिय है और यहां इसका एक ही मतलब होता है और वह है रंग खेलने वाली पिचकारी। खैर, लोगों को मेरा गाना अच्छा लगा। इसके बाद भक्ति गीत “ए गणेश के पापा” मेरे लिए टर्निंग प्वायंट साबित हुआ। बिहारवासियों का प्यार मिलने लगा। मैंने एक से बढकर एक भक्ति गीत गाये। सभी ने मुक्त कंठ से सराहा। इसके बाद ससुरा बड़ा पईसावाला फ़िल्म में आईटम सांग गाने का अवसर मिला, जिसे भोजपुरीभाषियों ने सराहा।

वर्ष 2004 में लोगों ने मुझे भोजपुरी में सोलो एलबम के लिए प्रेरित किया और “गवनवा ले जा राजा जी” लोगों के बीच आ सका। इसे भी आशातीत सफ़लता मिली। बाद में महुआ चैनल पर एक टैलेंट हंट प्रोग्राम में जज बनने का अवसर मिला। उस दौरान मुझे यह जानकर सुखद अहसास हुआ कि आज की युवा पीढी भोजपुरी गाना जो सकारात्मक रुप में लेती है और वे मुझे आदर्श मानते हैं। इस अहसास ने एक और जिम्मेवारी का अहसास भी करा दिया। यह जिम्मेवारी थी भोजपुरी की खोयी हुई गरिमा को वापस लाने की।

मेरे लिये यह एक चुनौतीपूर्ण कार्य था। डा भूपेन हजारिका मेरे सबसे बड़े आदर्श हैं। आज वे इस दुनिया में नहीं हैं, लेकिन बावजूद इसके उनकी गायकी मेरे हर अंश में निहित है। इसकी वजह भी मेरे पापा विपिन पटवारी ही थे। वे भी डा हजारिका के बहुत बड़े प्रशंसक हैं। एक बार जब पापा को कैंसर डिटेक्ट हो गया और मुंबई के लीलावती अस्पताल में उन्हें आपरेशन थियेटर के लिए ले जाया जा रहा था, तब उन्होंने मुझे आम जनों के लिये गाने को कहा। ईश्वर की कृपा से पापा का आपरेशन सफ़ल रहा, लेकिन मेरे कानों में पापा के शब्द गूंज रहे थे। मैं भोजपुरी में एक ऐसा महानायक तलाश कर रही थी, जिन्होंने डा भूपेन हजारिका की तरह आम जनों के लिये गाया हो। विद्यापति, महेंद्र मिसिर और भिखारी ठाकुर।

एक बार आरा जिले के बखोरापुर काली मंदिर में संगीत कार्यक्रम के दौरान मुझे एक वयोवृद्ध कलाकार को सुनने का अवसर मिला। उनके बोल भोजपुरी के ही थे, लेकिन लीक से अलग हटकर थे। उनके बोल के साथ जो स्वर लहरियां गूंज रही थीं, वह सब सपने के जैसा था। मैंने कार्यक्रम के संयोजक सुनील भैया (बखोरापुर काली मंदिर के संस्थापक सचिव) से इस बारे में जानना चाहा तब उन्होंने भिखारी ठाकुर के बारे में बताया। यही से मन में लगन लग गई कि भिखारी ठाकुर की शैली को आज की युवा पीढी के समक्ष अवश्य प्रस्तुत करूंगी।

फ़िर बहुत जगह हाथ-पांव मारने के बाद बिहार राष्ट्रभाषा परिषद के द्वारा प्रकाशित भिखारी ठाकुर रचनावली को पढने का अवसर मिला। मेरे सपनों को पंख लग गये। मैंने उस किताब में वर्णित गीतों का चयन किया और उस वयोवृद्ध कलाकार का अनुकरण कर अपने सपनों को “द लीगेशी आफ़ भिखारी ठाकुर” को साकार किया। संभवतः यह पहला भोजपुरी म्यूजिक एलबम है जिसका अंतरराष्ट्रीय स्तर पर विमोचन किया जायेगा। आगामी 4 जून को मारीशस में वहां के राष्ट्रपति इसे रिलीज करेंगे।

अंत में केवल इतना ही कि “द लीगेशी आफ़ भिखारी ठाकुर” में चयनित गीतों का आनंद लें और भोजपुरी के शेक्सपीयर भिखारी ठाकुर को श्रद्धांजलि दें। वे हमारे गौरवशाली इतिहास हैं। मैंने तो अपने तरफ़ से महज एक छोटा सा प्रयास किया है। आप सभी बिहारवासियों को मेरा यह प्रयास पसंद आयेगा और आने वाली पीढी इस प्रयास को आगे बढायेगी, ऐसा मेरा विश्वास है।

आपकी अपनी

klpnaa pTvaarI¸ p`a#yaat BaaojapurI gaaiyaka

Lok kalakar Bhikhari Thakur banam Lok Gayka Kalpana Patowary.

            ^^fn yhxslh vkWaQ fHk[kkjh Bkdqj** - Hkkstiqjh dh vUrjkZ"Vªh; xwWt

             laaok klaakar iBaKarI zakur  banaama  laaokgaaiyaka  klpnaa  pTvaarI

        baat iBaKarI zakur kI hO AaOr BaaojapurI BaaYaa Apnao kao gaaOrvaainvat mahsaUsa nahIM kroM¸ eosaa hao nahIM sakta. yah AklpnaIya hO. iBaKarI zakur BaaojapurI ko ]sa vyai@t nahIM¸ vyai@t%va ka naama hO¸ ijasanao BaaojapurI BaaYaa kao ]sa jamaanao maoM BaI maMca kI BaaYaa bananao ka gaaOrva p`dana ikyaa¸ ijasa jamaanao maoM gaaMva maoM BaI saaQaarNa pZ,–ilaKo laaoga BaI¸ jaba rasto maoM¸ baajaar maoM¸ yaa Apnao drvaajao dlaana baat krnao maoM Sama- mahsaUsa krto qao. [sao AnapZ,–gavaaraoM kI BaaYaa maana kr [saka Kulao maoM p`yaaoga krnaa¸ ]nakao¸ Apnao AiSaixat AaOr ipCD,o haonao ka ehsaasa krata qaa. AaOr eosao samaya maoM BaI iBaKarI zakur kao Apnaa [sa baaolaI kao¸ maMca kI BaaYaa banaanao maoM ja,ra BaI iJaJak nahIM hu[-. hlaaMik iBaKarI kao[- pZ,o–ilaKo vyai@t nahIM qao¸ ]nhaoMnao tao Kud kha BaI hO ik “ilaKo –pZ,o  ko hala naa jaanaI¸ pt raK Saarda BavaanaI”

            iBaKarI ]sa Gar maoM pOda huyoa qao¸ ijasao ]nako gaMva[- samaaja maoM prjaa–pvanaI ka djaa- p`aPt qaa. vah naa[- jaait maoM pOda hue qao ijasaka kama laaogaaoM kI mauFt hjaamat banaanaa qaa¸ Kasa kr Apnao jajamaainaka ko Aaohdodar laaogaaoM ka AaOr [sako evaja maoM ]nako pirvaar kao imalata qaa¸ vaYa- maoM dao baar KotaoM maoM pOda haonao vaalaI fsalaaoM ka ek baMQaa baMQaayaa¸ AaOr SaadI–ivavaah Aaid saMskaraoM maoM kuC naoga. jaba [sa doSa maoM Dak Gar nahIM qao¸ tba tk tao gaaMva Gar kI icaiz\zyaaM tk ek sao dUsaro gaaMva tk phuMcaanao ka kaya- BaI [nhIM ko Kanadana ko laaogaaoM ka puStOnaI poSaa qaa¸ vah BaI raobadar laaogaaoM kI icaz\zI mauFt AaOr ]sasao naIcao tbako ko laaogaaoM kao pOsao dao pOsao naoga pr. [sa pirp`oxya maoM Aapka saaocanaa jaayaja hO ik ifr eosao pirvaar ka laD,ka AaiKr kOsao [tnaa baD,a laaok klaakar bana gayaa. [tnao naaTk¸ [tnao gaIt ilaK gayaa¸ gaayaa BaI¸ naacaa BaI¸ AiBanaya ikyaa AaOr gaaMva kI gaMva[- BaaojapurI baaolaI kao SahrI AaOr nagaraoM tk phuMcaa idyaa¸ vah BaI maMca pr. jabaik tba tk BaaojapurI BaaYaa isanaomaa kI BaaYaa BaI nahIM bana pa[- qaI. yah iBaKarI zakur AaOr ]nakI laaokip`yata kI hI dona hO ik BaaojapurI kao isanaomaa kI BaaYaa banaanao pr baad maoM laaogaaoM nao saaocaa¸ [sa pr kama ikyaa AaOr [sa isanaomaa ko janak banao¸ ihndI iflmaaoM ko mahana klaakar¸ pr mana–imajaaja sao KaMTI Baaojapuiryaa rho¸ janaaba najaIr husaOna saahba iBaKarI zakur ka pZ,a–ilaKa haonaa tao dUr¸ ]nhoM k[- vaYaao-M tk Axar &ana BaI nahIM huAa qaa. ]nhaoMnao Kud BaI kha hO ik… “nava bairsa ko jaba hma ga[naI ivaVa pZ,na paz pr ga[naI¸ ek bairsa lao jabadla mait ilaKo naa Aa[la rayaa gaIt.. AaOr ApnaI [sa ijandgaI kI jalaalat sao tMga Aakr iBaKarI zakur ek idna Apnaa Gar CaoD, kr Baaga jaato hOM AaOr phuMcato hOM baMgaala ko maodnaIpUr… vahaM phlao tao Apnao jaIivakaopaja-na ko ilae vahI Apnaa puStOnaI poSaa Ai#tyaar krto hOM. pr baad maoM baMgaala kI klaa%mak ]va-ra BaUima¸ ]nako mana maoM iCpo klaakar kao jagaatI hO¸ iJaMJaaoD,tI hO¸ jaba vah¸ vahaM phlaI baar ramalaIlaa doKto hOM¸ ifr baMgaala kI p`isaw naaTk pwit jaayaa doKto hOM AaOr Apnao mana maoM BaI kuC vaOsaa hI krnao kI klpnaa palanao lagato hOM¸ ifr @yaa qaa¸ laaOT pD,to hOM Apnao gaaMva AaOr vahaM Aakr phlao tao Apnao ima~ Bagavaana dasa bainayaa sao Axar &ana p`aPt krto hOM¸ kuC ilaKnao pZ,nao BaI isaKto hOM AaOr ifr AQyayana krto hOM tulasaIdasa kRt ramacairtmaanasa kI. AaOr ifr saakar hao jaatI hO ]nako mana kI klpnaa. Apnao daostaoM ko saaqa KD,I krto hOM ramalaIlaa maMDlaI¸ ipraonao lagato hOM Apnao mana BaavaaoM kao ApnaI BaaYaa maoM ramacair~ ko naayakaoM ka saMvaad¸ gaana AaOr ifr haota hO ek idna maMcanaa pUra gaaMva sarah ]zta hO. haOsalaa baZ,ta hO. pr maata–ipta kI vaja-naa baaQak banatI hO. pr Aba tao klaakar ko mana kao pMK laga gayao haoto hOM. [na saarI vaja-naaAaoM ko baavajaUd vah klaakar ivad`aoh krta hO¸ klaakar ivad`aohI nahIM huAa tao klaakar kOsaaÆ saao Aba banatI hO naaja maMDlaI… Sau$ haoto hOM naaTk ilaKnao ko isalaisalao. ek ko baad dUsara¸ tIsara¸ caaOqaa ifr jaanao iktnao. haonao lagato hOM maMcana. imalanao lagatI hO saflata… naaTkaoM kao¸ gaItaoM kao AaOr ek idna bana baOzta hO yah klaakar¸ BaaojapurI ka Ap`itma laaok klaakar. tba na jaakr ek idna Baart AaOr duinayaaM ko tkrIbana dja-na Bar BaaYaaAaoM ko &ata¸ parMgat ivawana¸ rcanaakar ivacaark¸ inamaalaaocak¸ laoKk pM• rahula saakR%yaayana kao khnaa pD,ta hO ik “iBaKarI zakur tao BaaojapurI BaaYaa ko Sao@sapIyar hO. AaOr [saI BaaojapurI ko Sao@sapIyar ko naaTkaoM sao kuC cauinanda gaItaoM kao laokr ivaSva pTla pr rKnao calaIM hO “klpnaa pTvaarI jaI”.

          klpnaa pTvaarI nao yah bahut hI saahsa ka kama ikyaa hO¸ karNa iBaKarI zakur ko gaIt naa tao AaQauinak ksaaOTI ko hO¸ naa hI ]namaoM kao[- AaQauinakta baaoQa hO. AaQauinakta sao maora ta%pya- Aaja kI fOSana prst AaOr piScamaI saByata kI trf laalaa[it¸ BaagatI¸ iKMcatI AaQaUinak pIZ,I sao hO. iBaKarI zakur ko gaItaoM maoM tao t%kailana BaaojapurI gaMva[- samaaja kI ]na dUiYat vyavasqaaAaoM kao jaIvaMt Baava sao ]kora gayaa hO ijanamaoM prmpra ko naama pr t%kailana saByata AaOr saMskRit ko naama pr¸ naarI ka ]%pID,na AsaM#ya trh sao ikyaa gayaa hO. iBaKarI zakur nao Apnao naaTkaoM¸ ivadoisayaa¸ baoTI baocavaa¸ Baa[- ivaraoQa¸ gabariQacaaor¸ pu~baQa Aaid ko maaQyama sao Apnao xao~ ivaSaoYa kI tsvaIr eosaI KIMcaI hO AaOr ]nakI maMcana [tnaa jaIvant ikyaa hO ik lagata hO Apnao samaaja ko saamanao ]naka Aa[-naa banaa kr rK idyaa hO Apnao hr naaTk maoM samaaja ko t%kailana zokodaraoM ko mauMh pr KIMca–KIMca kr tmaacaa jaD,a hO.

          AaOr Aba ]na naaTkaoM sao ]sa trh ko gaItaoM kao cauna kr Agar Aaja ko idna klpnaa jaI [nhoM naa isaf- AaQauinak samaaja ko saamanao bailk pUro ivaSva ko saamanao Apnao AMdaja, maoM nayao saMgaIt ko saaqa Agar rKnao jaa rhI hO tao maOMnao galat @yaa kha ik yah baD,o saahsa ka kama hO. vaOsao¸ [samaoM kao[- dao raya nahIM ik klpnaa jaI Apnao jaIvana maoM BaI ek saahisak maihlaa hOM… jaOsao iBaKarI zakur AnapZ, haoto hue BaI BaaojapurI ko AnagaZ, hIra hO¸ vaOsao klpnaa jaI BaI Kud ek BaaojapurI xao~ ³Asama´ kI haotI hu[- BaI ijasa trh sao BaaojapurI gaItaoM kao gaanao ka p`yaasa ikyaa hO yaa gaa laotI hOM¸ ]sasao tao yah khnaa khIM sao BaI galat nahIM haogaa ik vaao BaaojapurI gaayakI¸ Kasa kr maihlaa gaayakI kI¸ Aaja ko samaya kI¸ kMgaUra hOM¸ gauMbad hOM.

        vkt tgkWa ,d rjQ Hkkstiqjh dks vkBoha vuqlwph esa 'kkfey fd, tkus dh ppkZ jk"Vªh; Lrj ij tksj&’kksj ls py jgh gS] ogha nwljh rjQ Hkkstiqjh Hkk"kk ds egku lkfgR;dehZ fHk[kkjh Bkdqj ij vk jgs egRokdka{kh vkfM;ksa dSlsV ^^ fn yhxslh vkWaQ fHk[kkjh Bkdqj** fd ppkZ vUrjkZ"Vªh; Lrj ij rst gks x;h gS] vkSj gks Hkh D;ksa u! tc bls yanu dh fo’oLrjh; E;wftd dEiuh ^^ Virgin Records / EMI Music ** ykap dj jgh gksA

       ^^fn yhxslh vkWaQ fHk[kkjh Bkdqj** dh ykafpax Hkkstiqjh laxhr ds fy, ,d ,slk ,sfrgkfld N.k gS tks uksjk tksUl] fczfVYl tSls vUrjkZ"Vªh; Lrj ds iz[;kr dykdkjksa dh Js.kh esa [kM+k gksdj Hkkstiqjh dh n;fu;rk lacaf/kr lHkh fNNys iwokZxzgksa dks jkSnrs gq, ehyksa nwj vkxs tkdj Hkkstiqjh laxhr ds ,d uohu dzkfUr dh ygjkrh irkdk xkM+us esa iwjh rjg ls dke;kc gqvk gSA  

        Music retail outlets, malls, Planet M’s tSls reke cM+s&cM+s ekWyksa esa fcdus dks rS;kj 195 :i;s dh  ;g vksfM;ks ,yce Hkkstiqjh ds bfrgkl esa lEHkor% lcls eagxh vksfM;ks dSlsV gS tks lLrh ekufldrk ls izHkkfor fiVh&fiVkbZ yhd ij xyh&uqDdM+ksa esa fcdus okyh vke Hkkstiqjh ,yceksa ls fcYdqy brj] reke lHkzkUr cqf)thfo;ksa ds gkFkksa esa igqWap] Hkkstiqjh ds ckjs esa vc rd cuh leLr lLrh vo/kkj.kkvksa dks rksM+us ds fy, cspSu gSaA

        bl ,yce dks vius lqjhys lqj ls ltkus okyh Hkkstiqjh laxhr dh lqj lkekzKh dYiuk crkrh gSa fd& tc eSa vle ls Hkkstiqjh laxhr dh nqfu;k esa nkf[ky gqbZ rks 'kq: esa eSa Hkkstiqjh dh cuh gqbZ mlh iqjkuh /kkjk esa dkQh nwj rd cgrh pyh x;hA Hkwisu gtkfjdk dks viuk vkn’kZ ekuus okyh dYiuk vkxs dgrh gSa fd & vpkud blh nkSjku Hkkstiqjh dh xgjkbZ esa mrjus ds ckn cspSuh lh gqbZ] ckj&ckj fny cksyrk Fkk fd Hkkstiqjh esa Hkh Hkwisu gtkfjdk dh rjg vius laxhr ds tfj, lkekftd dzkfUr ds laokgd t:j gq, gksxsa vkSj [kkstus ij irk pyk fd ;gkWa egsUnz feJk] fo|kifr vkSj fHk[kkjh Bkdqj ,sls yksx jgs gSa ftUgksaus Hkkstiqjh ds tfj,  lkekftd dzkfUr dk chM+k mBk;k] ftuesa lokZf/kd vge jksy fHk[kkjh Bkdqj dk jgkA mlh mDr ls eSus QSlyk dj fy;k Fkk fd eq>s fHk[kkjh Bkdqj ij dke djuk gS] vkSj fQj fHk[kkjh Bkdqj ,d tuwu dh rjg esjs vUnj mrj x;sA

           bahut hI saundr jaugalabaMdI haogaI¸ Aaja ko saMdBa- maoM laaok–klaakar iBaKarI zakur banaama laaokgaaiyaka klpnaa pTvaarI. ek trf haogaI BaaojapurI maanasa kI t%kalaIna jaIvant tsvaIr AaOr dUsarI trf Aaja kI BaaojapurI sauraoM kI maillaka kI Aavaaja, AaOr ]naka jaadU. klpnaa jaI svat: p`oirt Agar [sa BaaojapurI ko mahana saaih%yakar¸ klaakar kI trf JaUkIM hO AaOr ]nako gaItaoM kao puna: nayao saMdBa- maoM jaIvaMt krnao ka baID,a ]zayaa hO tao yah khnaa galat nahIM haogaa ik ]nhaoMnao ek mahana saaQanaa kI trf Apnao kdma baZ,ayaa hO AaOr BaaojapurI samaaja kao ek Anamaaola Qaraohr donao jaa rhI hO. baQaa[-²²

Virgin Records / EMI Music forays into Bhojpuri Music.

Album Out Now

              Virgin Records / EMI Music releases their first musical documentation Bhojpuri album The Legacy of Bhikhari Thakur by Assamese singer & Bhojpuri icon Kalpana Patowary recently.

The album is conceived and inspired by the life and works of one of the most popular and prolific poets of Bhojpuri literature.

              Kalpana brings the original vibrancy and richness of the Bhikari Thakur folk forms to the World wide so that people from the world over can experience the originality and richness of Bhojpuri music. The songs give listeners space and time of that era. Bhikari Thakur songs treat life with an experienced simplicity. Kalpana believes…this is an Endeavour with a cause. “In an era of pop and rock, we are losing the basic foundation of our culture i.e.  Folk”…clarifies Kalpana who conceptualized this idea.

               Says T. Suresh, general manager, Virgin Records / EMI Music group, EMI is happy with their entry into Bhojpuri music with songs of Shakespeare of Bhojpuri literature - Bhikhari Thakur. This album is a perfect combination of the singer Kalpana, and the lyrics of the poet himself. Both the singer & music are by Kalpana Patowary.

              This album features 9 songs. It will be available across all mobile and other digital platforms and all leading Malls, Planet M’s etc.

check out

http://www.qobuz.com/album/the-legacy-of-bhikhari-thakur-kalpana-patowary/5099963561555

http://www.amazon.fr/The-Legacy-Of-Bhikhari-Thakur/dp/B007X7ACFG

To know more about Kalpana Patowary checkout Official Blog

http://singerkalpana.blogspot.com/

Bhojpuri Artistic Tradition and Bhikhari Thakur.

      

                    I am an artist interested in to explore BHOJPURI ARTISTIC TRADITION and BHIKHARI THAKUR.

               Bhojpuri is a lokbhasha or folklore spoken in 14 nations all over the world and in major towns, cities of India.  It is widely spoken in Uttar Pradesh, Bihar and some parts of Madhya Pradesh. Lokbhasha is a document of society, civilization and culture. Feelings such as happiness, sadness, etc. are expressed by this of common people.

              Bhikari Thakur was a Bhojpuri author popularly known as the "Shakespeare  of Bhojpuri Literature“. Thakur was born in a barber-family on 18 December 1887 at Kutubpur (Diyara) Village in Saran District now in Bihar. He is best known for the creation of the twentieth century theatre form “Bidesia”. Bhikari Thakur was a barber (a backward Caste) who abandoned home and hearth to form a group of actors who dealt with issues of confrontation: between the traditional and the modern, between urban and rural, between the haves and the have-nots. Appreciative native Bhojpuri audiences consider Bhikari Thakur as the incomparable founder father, propagator and exponent par excellence of this form. He was a folk poet, a folk singer, a folk dancer and actor.

               In ninteenth century when Bhikhari Thakur was struggling to end his meet, he was impressed and inspired by movement carried out then by famous Bengali social reformers such as Raja Ram Mohan Roy, Ram Krishna Paramhans & Swami Viveka Nanda. This simple and poor young man, quiet impressed by Bengal’s ‘punarjagran andolan’, returned to his native place Qutubpur, and watched, noticed his society’s problems minutely and enriched and enlighten with ideas on every social level which can be seen and felt in his compositions. He took ‘the Renaissance spirit’ positively and decided to deliver it to the Bhojpuria society through songs, poem, drama, etc.

A person who was transformed from a simple barber into a BHOJPURI CULTURAL INSTITUTION, now after a decade I Kalpana Patowary want to explore him musically.

                RESEARCH QUESTIONS CENTRAL TO MY PROJECT

              In this reigning global music scenario Bhojpuri music really stands high. While Bhojpuri literature still needs a solid grounding, its music is big enough to cause even political parties to seek mileage from it. But do we really know where its roots stand, where does it comes from?        

              First, if we talk about Bhojpuri music, we should know about Bhojpur, named after the famous philosopher king and polymath of medieval India Raja Bhoj. Where it is …? Three districts ARA, CHHAPRA from BIHAR and BALIA from U.P make today’s BHOJPUR and the boli or language spoken in Bhojpur is actually Bhojpuri. It’s a different matter that now even Avadhi, Banarsi, Maghai, Angika and even to some extent Maithli is also included as a part of Bhojpuri culture as people know it nationally. But the core of Bhopuri boli is actually limited to only Ara, Chhapra and Balia. According to me, Bihar is not explored musically. It’s always the U.P side the nation knows as Bhojpuri. Even in Bollywood it’s always the U.P folk. My effort is to acquaint with the original Bhojpuri language music. When I put myself completely in Bhojpuri research work, my search stopped at two important persons,first Bhikhari Thakur and second Mahendra Mishra.I chose Bhikhari Thakur. How inspired I am by Bhikhari Thakur's life, how the legend has shaped the future of Bhojpuri music. Bhikhari Thakur songs are rich in imagery and heavy in Bhojpuri dialect.

               Secondly, I am very much concerned about the inheritance of Bhikhari legacy to my next GENERATION. We have to know the authenticity of Bhojpuri music in its original and raw form to present to the world especially to all those budding singers/artist. Today, if asked to the present day generations about Bhikhari Thakur, they will simply satisfy themselves saying he was THE SHAKESPERE OF BHOJPURI LITERATURE and……! And some will just sing a very polished version of Bidesia. Among the masses of Bihar and other Bhojpuri-speaking areas, he needs no introduction. But the so-called mainstream ‘culture’, like always, has conspired to keep mum about his contribution, actively avoiding, even mentioning his name and have full stopped him with giving the title of THE SHAKESPERE OF BHOJPURI LITERATURE. Hence, there are no serious documented accounts of his works till now. Why?? There are organizations who are also trying to revive HIM. But practically, none could bring out THE ARTISTE from the legend BHIKHARI THAKUR. Now here, I don’t want to take the credit, but yes I think I am blessed and the chosen one to think and document this project. It’s my turn to give something I can as a Bhojpuri artiste. I am trying to bring the original vibrancy and richness of the Bhikhari Thakur folk forms to the World wide so that people from the world over can experience the originality and richness of Bhojpuri music. This project will generate a mass interest on Bhojpuri music in a genre like WORLD MUSIC category.  I believe…this is an endeavor with a cause.

THE RESEARCH METHODOLOGY THAT I SEEK TO FOLLOW AND/OR NEW METHODOLOGIES THAT I WISH TO PURSUE IN ORDER TO TACKLE the SUBJECT OF INQUIRY.

              

                 My methodology is some kind of autobiographical. The whole journey, from realizing the utmost need to captivate the legend musically, to the completion of the whole audio - is my methodology. Myself being the protagonist of “the Legacy of Bhikhari Thakur” I want to share this blissful experience with all concerned. When I realized that I have to take the responsibility to revive Bhikhari musical zone, I was actually worried. As a Bhojpuri singer it was my burning desire, but there was no such musical documentation anywhere. From where to start!

            I had visited to many remote areas in Bihar to gather knowledge about Bhikhari Thakur’s artistic practices. Then one fine day in a remote village called Bakhorapur in Ara,Bihar, I was about to experience a very sparkling moment of my life. I was there for a cultural show. Before my performance one very aged artiste, about 95 years old came and performed. His performance was so rustic, his voice, oh my god!! I gulped. I was thrilled to meet him as he was a nartak from the original Bhikhari Thakur mandali. I bowed and took ashirvaad from him and the dream to make an audio on Bhikhari Thakur musical era was going to transform into reality. I have heard many artiste singing Bidesia and in films also. It was good but somehow for me it was a polished version. This old man had a completely different presentation. Then I came back home to Mumbai, again got busy in professional commitments. But that desire was still living inside me. I tried to find BHIKHARI THAKUR on internet, failed. Searched books about him but in vain. Then one fine day, a local Patna artiste came up with the ‘Bhikhari Thakur Rachnawali’ by Rashtrabhasha Parishad, Bihar. I was so happy to get it in my hands and started studying it, about the inner facts of the whole social, political and spiritual elements of the Bhikhari time zone. But again one challenge raised, where to get the original thekas (rhythm) and original compositions as sung the way Bhikhari Thakur used to. Again I had to visit   Bakhorapur, meet that rustic nartak and request him to sing for me. He understood my intentions, agreed and the local villagers helped me to record the rustic nartak with his vadya mandali (musicians). Now I was ready with the documentation part. Second phase of this audio project was about to start in a professional music recording studio in Mumbai.

Ramagya Ram, rustic nartak
from Bhikhari Thakur Mandali.

I chose nine tracks –

1.       Bhikhari Parichay - …….an autobiographical introduction about the legend.

2.    Dagaria Johat Na - a folk form called “Jatsaar”. Household village women share their feelings and sometimes even their secret desires while grinding the wheel.

3.     Babu ji – This was a way Bhikhari Thakur raised his voice against gruesome  social custom  “child marriage”.

4.    Ram Lila Gaan – A song joyfully describing Lord Rama’s royal wedding procession from Ayodhya to Janakpuri.

5.     Piyaari Sundari  – Here Bhikhari Thakur deals with the passion of a newlywed  couple forced to be separated because of our most socio economic issue UNEMPLOYMENT.

6.     Kalyug Prem - Kalyug prem, here refers to “wine”. According to Hindu mythology,several thousand years before it was foretold during Samudra Manthan that “wine” will be  most sought after in Kalyug. This song is a painful expression of the many leading ladies of our society who daily faces their addicted drunkard husbands and how after sometime this family falls apart.

The Legacy of Bhikhari Thakur in Ranchi

7. Lagania - Bhikhari thakur was mainly a Rambhakt. He considered goswami Tulsidas as his Guru and 'Ramcharitmanas' as his 'aadhar grantha'. He used to get inspired by watching ramleela, raasleela and bengali yatra. He himself used to do 'raamleela', and considered it as a medium of 'mukti'.

8.     Raas Lila – A play of asthetics or more broadly “Dance of Divine Love" –here Bhikhari Thakur depicts the Krishna Bhakti tradition, the rasa-lila is considered to be one of the highest and most esoteric of Krishna's pastimes. In this tradition, romantic love between human beings in the material world is seen as merely a diminished, illusionary reflection of the soul’s original, ecstatic spiritual love for Krishna, God, in the spiritual world.

9.      Bidhata – This number also deals with a socio economic issue. Husband moves to distant places for employment, newlywed young wife left behind with burning physical desires and its outcome.

Now, with the helping hand of BHIKHARI THAKUR RACHNAWALI script was ready in my hands. To keep the music simple and of the legends time I chose to use a minimum acoustic instruments. Finally I was rendering my voice to the most esoteric singing moments of my career. I was very careful and particular while maintaining the raw Bhojpuria accent of Bhikhari Thakur’s time. Here I took inspiration from that respected aged nartak whom I recorded in Bakhorapur. At last the audio of the Legacy of Bhikhari Thakur is now complete!              

This desire to keep the legend alive and to introduce to the world the real Bhojpuri music, Bhikhari Thakur became my PASSION. This passion I am carrying can be taken to a different level with your support only.

बिहार की दत्तक बेटी कल्पना का अनूठा प्रस्तुति.

बिहार की समृद्ध संस्कृति ने देश और दुनिया को हमेशा आकर्षित किया है। यहां की अनूठी संस्कृति ने उपेंद्र महारथी जैसे महान शिल्पकार और चित्रकार को इतना प्रभावित किया कि वे आजीवन बिहार के ही बनकर रह गये। वर्तमान में बिहार को सौभग्य से एक बेटी मिली है, जिसने उसके गर्भ से भले ही जन्म नहीं लिया, लेकिन आज वह बिहार के सौभाग्यशाली मस्तक पर बिंदिया की तरह चमक रही है। बिहार की इस दत्तक बेटी का नाम है कल्पना पटवारी।read more on http://www.apnabihar.org/apni.htm

The Legacy of Bhikhari Thakur
वही कल्पना, जिसने कभी “गवनवा ले ल राजा जी” और “एगो चुम्मा ले ल राजा जी” जैसे  गीत गाकर लोकप्रियता के सारे रिकार्ड तोड़े थे। बाद में कल्पना ने भोजपुरी संगीत संसार को अपनी सुमधुर आवाज से सजाया संवारा। आज भोजपुरी संगीत की चर्चा होती है तो कल्पना का नाम किसी अतिथि के रुप में नहीं, बल्कि बिहार की बेटी के रुप में ही होती है। वैसे कल्पना मूल रुप से आसाम की रहने वाली हैं। पिछले एक दशक से इन्होंने दिल को छूने वाली आवाज और भोजपुरी के प्रति समर्पण के बूते नया कीर्तिमान स्थापित किया है।

आज के राक और तथाकथित सोलो म्यूजिक के दौर में भी कल्पना ने शतायु बिहार को अपनी ओर से एक साहसी तोहफ़ा दिया है। साहसी इस मायने में कि कल्पना ने भिखारी ठाकुर की परंपरा को अपनी आवाज के सहारे पुनर्जीवित करने का प्रयास किया है। अपने नवीनतम एलबम “द लीगेशी आफ़ भिखारी ठाकुर” के जरिये कल्पना ने भिखारी ठाकुर के उन गीतों को अपनी आवाज से सजीव बनाया है, जो उनके जीवनकाल में तो सजीव थे, लेकिन बाद में काल के गाल में समा गये थे।

अपना बिहार के साथ बातचीत में कल्पना बताती हैं कि एलबम के निर्माण से पहले उन्होंने भिखारी साहित्य का गहनपूर्वक अध्ययन किया। अध्ययन के दौरान इन्होंने पाया कि भिखारी ठाकुर ने आज के वर्तमान की सच्चाई को अतीत में ही अपनी नाटकों में वर्णित किया था। हालांकि कल्पना की कल्पना भी ब्राह्मणवाद के पाखंड के मायाजाल में सीमित रह जाती है और वह भिखारी ठाकुर के द्वारा बतायी गयी सामाजिक सच्चाई को भी उसी चश्मे से देखती हैं। इसका प्रभाव गीतों के चयन और प्रस्तुतियों में सुनाई पड़ता है। एलबम की कीमत 195 रुपए है और इस दृष्टिकोण से यह महंगा अवश्य है, लेकिन भिखारी ठाकुर को समर्पित गीतों को कल्पना की आवाज के लिहाज से इसे महंगा नहीं कहा जाना चाहिए।

बहरहाल, सौ साल पूरा होने पर बिहार की दत्तक बेटी कल्पना ने बिहारवासियों को अनमोल तोहफ़ा दिया है। सारंगी के प्रयोग ने प्रस्तुति को और अनूठा बना दिया है। सबसे अधिक कल्पना की चंचल और शोख आवाज ने भिखारी ठाकुर के गीतों को 21वीं सदी में सजीव बनाने में सफ़ल हुई हैं। इसके लिये ये बधाई की पात्र हैं। अपना बिहार भी इनके इस संगीतमय प्रयास को सलाम करता है।