Travelling through the Nandurbar district in Maharashtra offers us an opportunity to experience a labyrinth of languages because of its proximity to Gujarat and Madhya Pradesh and the complex mesh of dialects crisscrossing through its tribal communities. Hence, Me majama aahe, a statement by our driver narrating his well-being in a mix of Marathi and Gujarati, was not a surprise. But as we moved from Nandurbar to Navapur, Marathi, apart from coexisting with Hindi and Gujarat, now shared space with a range of bolis like Bhilli, Mavchi and Kokni. 

Working for an organisation that improves the quality of learning of government school children across the country allows me an experience to regard languages both as a fascination and a challenge! The former for the diversity they present and the latter for the multiple layers of obstruction they create for communicating our cause and an apparent clog in enabling children to read in the language of the state through their transition from a boli bhasha to a pramaan bhasha. But beyond this antithesis lies an opportunity to explore the multitude of cultures presented by these languages and the literature, perhaps still untapped, they have carried through them across generations. 

And what better medium than a song to explore the unexplored! Apart from the melodic interpretations and rhythmic glimpses, a song offers a glance into the daily life, struggles, joys and a dichotomy in the life of these communities. 

Navapur Giyora Bhaya 
Beeje Taare laain laalon 
Laainon pe jahura bhaya Bandharepada mein 

A group of women agreed to sit by the grinder and gave their consent to shoot a video of them singing this traditional piece in Mavchi bhasha. And after a few minutes of discussion, they began singing in a high-pitched voice, a prevalent feature among tribal communities. The pitch settled in and made its way to the melody, which slowly evolved from the chorus, complementing the gyrations of the spinning grinder! We were at Ghatli village, Dhadgaon block, Nandurbar. The song reflected the age-old tradition of Owi, typical to Maharashtrian and Goan households, where women sat by the grinder and gathered their emotions, ranging from daily joys and frustrations or bhakti, and expressed them through songs and poetry. The literal meaning of Owi is ‘strung together’ as women composed and strung together verses and weaved them to form a poem. 

The first stanza made way for the second that said the following: 

Bahakobi dure haye 
Yahakibi dure haye
Kehenki jahura bhaya Bandharepada mein

Exploration of this two-verse song presented some interesting insights. The first verse reflects a change in the lifestyle of these communities, while the second immediately points out the cost at which this change has occurred! Together, they present a dichotomy which is no different from what we have experienced before and will continue to share in the years to come.  

‘I went to Navapur’ begins the first verse. ‘…and brought home electricity. Let us travel to Bandharepada in visible light.’ 

A simple search on Google Map locates two Bandharepadas, one in Gujarat, and the other in Nandurbar district, Maharashtra. Both are accessible from Ghatli, the village where these women live. Possibly, both are marketplaces, and members from these communities have travelled there for work or as labourers. Perhaps, the third sentence of this verse indicates that they can travel to Bandharepada while their house won’t be in darkness. And then began the second verse: 

Bahakobi dure hoye 
Yahakibi dure hoye 
Kehenki jahura bhaya Bandharepada mein 

‘Father is far away, Mother is also far away, how I can go to Bandharepada?’ is its translation. Is the protagonist complaining about the absence of elders from the house, who have gone far away from work? Is their absence the reason for him to not visit Bandharepada? Or is this simply a contradiction between two scenarios — there is electricity at home, but everyone has gone far away! We can only speculate. But this speculation leads to a glimpse of the tribal way of life, centred on daily chores and changes in their lifestyle and the consequences they bring in. 

Perhaps, Mavchi has more such unexplored verses waiting to be discovered and interpreted, an exercise that will unearth a culture centered on a community and its history, records of its migration, its experiences and its worldview. And as it is a spoken dialect, poetry and songs are perhaps the only ways to explore its life.

Indeed, a song narrates a story. But beyond that, it has the ability to exhibit an identity! This World Music Day, let us honour every song, which, though unheard and less well known, possesses the ability to unearth a civilisation and reflect an identity! 

The YouTube link to the song is here: https://www.youtube.com/watch?v=u184A-N8Lg0

About The Author

Aashay Gune is a Communications Professional, working in the development sector and works as Freelance Translator. His areas of interest are Music, Literature, Social and community life, and current affairs.   

About The Author

Aashay Gune is a Communications Professional, working in the development sector and works as Freelance Translator. His areas of interest are Music, Literature, Social and community life, and current affairs.