From the once-in-a-millennium voice of Lata Mangeshkar to the youthful brilliance of Zubeen Garg, from the sacred resonance of Padma Vibhushan Sharda Sinha to the soulful renditions of S.P. Balasubrahmanyam, Bappi Lahiri, Vani Jairam, and KK—India has lost not just singers, but sacred echoes of its cultural soul. These voices transcended language and geography, becoming the emotional architecture of a billion lives.
At the heart of this living heritage stands Vijaya Bharti, one of India’s foremost folk artists and cultural experts. With dual Master’s degrees in Music and Hindi, and the honorific Vidya Vachaspati, she is a top-grade artist of All India Radio and Doordarshan, a poetess, anchor, and cultural strategist. Born in Bihar and raised in Mumbai, she has performed in over 22 countries and sung in more than 18 languages including Bhojpuri, Maithili, Santhali, Assamese, Rajasthani, and Hindi.
Her four-year anchoring of Mahua TV’s Bihane Bihane became a landmark in regional television. Invited by Prime Minister Narendra Modi for campaigns like Beti Bachao Beti Padhao and Malnutrition Awareness, Bharti’s songs are not mere melodies—they are manifestos of cultural continuity and social consciousness.
In this exclusive conversation, she reflects on her musical journey, her vision for India’s cultural future, and her unwavering faith that folk:
Q: From the once-in-a-millennium voice of Lata Mangeshkar to the youthful brilliance of Zubeen Garg, India has lost many legends. What are your reflections on these voices?
From Lata Mangeshkar to Zubeen Garg, from Padma Vibhushan Sharda Sinha to S.P. Balasubrahmanyam, Bappi Lahiri, Vani Jairam, and KK—India has lost not just singers but sacred echoes of its cultural soul. These voices transcended language and geography, becoming the emotional architecture of a billion lives. I have always addressed Lata Mangeshkar as the Maa of Indian music. Sharda ji was deeply respected as my musical guardian. Their songs still echo in our homes, but their memories risk fading from our institutions. It is time India creates a National Music Memorial and Living Archive—a place where every region, genre, and generation finds its rightful space.
Q: What defines the essence of your folk music?
Pure folk music fills the soul with the fragrance of the earth. It is not just emotional—it is psychological, spiritual, and civilizational. Lok is not entertainment; it is enlightenment. It carries the wisdom of generations, the rhythm of rivers, and the voice of the voiceless. When I sing, I don’t just perform—I offer a prayer to the soil that raised me.
Q: How do you connect folk music to the Sanatan tradition?
The Vedas proclaim: “Sangeetam Brahma Swaroopam.” In the Samaveda, music is revelation. The gods themselves sing—“Gayanti Devaah Kil Geetakaale.” Lok is not derivative; it is primal. Classical music refines it, but the origin is Lok. Sanatan Dharma rests upon the foundation of Lok—its voice, its wisdom, its soil.
Q: You are widely known for your Chhath songs. Could you share more about them?
This year, I released two Chhath songs—one in Bhojpuri and one in Maithili—on my YouTube channel Indian Folk Star Vijaya Bharti. I wrote, composed, and sang them. My earlier Chhath songs with T-Series and other labels are available online. These are not just performances; they are prayers set to melody.
Q: Padma Vibhushan Sharda Sinha’s passing last year was deeply felt across India. How do you remember her?
It is a loss that words can scarcely contain. Sharda ji was not just a legend—she was my elder sister in music, my guide, my anchor. She took my very first interview, and we sang together from Mumbai to Delhi. She possessed the original folk voice—unfiltered, unbroken, unyielding. Her Chhath songs are not just melodies; they are rituals. Wherever Indians live—especially Biharis—Chhath is celebrated with her voice echoing in every courtyard, ghat, and heart. Her departure is not silence—it is a sacred pause. Her music continues to sing through us.
Q: The nation also mourns the loss of Zubeen Garg. What are your thoughts?
I have a strong emotional connection with Assam and the Northeast. I have performed in Guwahati and Meghalaya, and I deeply admire Goalpariya Lok Sangeet. I had the privilege of singing with Pratima Baruah Pandey at Rabindra Bhawan. In Dr. Bhupen Hazarika’s songs, I felt a sacred resonance between the Ganga and Brahmaputra. Zubeen Garg was the radiant star of a new generation. Whatever has happened is a story of pain and mystery. He is alive in our hearts. Justice must be done. I hope Chief Minister Himanta Biswa Sarma will establish a Centre for Enajori—a national musical confluence—in Zubeen’s memory.
Q: From stage to screen, your journey spans continents. Which moments stand out most?
It has been a pilgrimage of sound and soul. From the dusty lanes of Bihar to the grand auditoriums of Berlin and Trinidad, I have carried the fragrance of Indian soil in my voice. I have sung on temple steps and television sets, in village fairs and diplomatic halls. I have shared platforms with legends like Amitabh Bachchan, Amrish Puri, Yash Chopra, and Ravindra Jain. But what stays with me most are the moments when a folk song—sung in Bhojpuri, Maithili, or Santhali—made someone cry in Germany or dance in Trinidad. That is the power of Lok. It transcends borders, languages, and ideologies.
Q: You have often spoken openly about cultural politics. What drives this stance?
Art must be earned, not inherited through political proximity. I have never sought favors nor accepted them. My relationship with politics is that of a vigilant citizen, not a beneficiary.
Q: Your literary work is also vast. What themes do you explore in your writing?
I have written ten poetry collections and one story anthology. My songs and poems address malnutrition, child labor, environmental protection, and gender justice. Prime Minister Modi personally invited me to contribute to these campaigns. My words are my activism.
Q: How do you view the recognition received through your invitations from the Prime Minister?
It was an honor to be personally invited by Prime Minister Narendra Modi. His outreach to artists reflects a deep understanding of cultural influence. But recognition must be followed by reform. Artists need not just invitations but institutions.
Q: What policy changes would you recommend for folk and cultural artists?
Post-COVID, folk artists have suffered severe decline. Doordarshan should dedicate a channel to folk music. Though NEP 2020 mentions integrating folk culture into education, implementation remains absent. Payments to graded artists have been stagnant—they must be reviewed and raised. Zonal cultural centers should be revived, and artists—not bureaucrats—should serve on their governing bodies. We need incentives for cross-cultural productions, multilingual translations, and learning systems that honor regional diversity.
Q: What is your pledge to India as a folk singer in this Amrit Kaal?
This is not just a time of celebration—it is a time of cultural reckoning. India must elevate folk culture from festival décor to policy priority. My call is clear: India’s call is for preservation, promotion, and purposeful encouragement of Lok.
Q: Finally, what is your vision for national unity through music?
Music is the most potent thread of unity. It can infuse nationalism without slogans. I sing in 18 languages, but where is the opportunity to sing together with artists from Assam, Tamil Nadu, or Punjab in a shared concert of unity? We need a new Mile Sur Mera Tumhara—not as a campaign but as a movement. Let the Ganga meet the Brahmaputra in song. Let the folk of Rajasthan embrace the rhythm of Kerala. Let the tribal chants of Jharkhand harmonize with the classical ragas of Karnataka. Cross-country and global exchanges of art and music will not only strengthen our bonds but also build Brand Bharat in this Amrit Kaal.
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