A country of heterogeneous voices, has a very rich tradition of folklore, folk literature, performing-folk-arts, traditions and bhajans. The “folk-voice”, which manifests itself in such traditions, is primarily produced in different dialects and has its roots in human emotion. It is like a reservoir of human experience and a memory lane of an individual and community as well. It embraces every-thing relating to ancient observances and customs to the notions, habits, beliefs traditions, superstitions of common people, still preserved by memory. This statement is applicable to Saurashtrian folklore in particular which enjoys a unique place in the Indian folklore, because of its richness, variety, specific identity, pan-Indianness and weltanshauung. It is so rich that as it is said, every stone, every drop of water and every particle of air of Saurashtra contains a folktale in its bowls. Every stone outside or every stone in the vicinity placed on the outskirts of a village in Saurashtra may contain a story of adventure or sacrifice of its sons or daughters. But Saurashtrian folklore, like its counterparts else where, remains a marginalized area of study against central, national and global homogeneous consideration. Therefore, it needs to be understood, preserved and projected before it dies out due to negligence in the razzmatazz of current consumerist culture. Postmodernism has done much service to the marginalized subjects as it does not consider the world of arts as the monopoly of elite artists. Consequently hither to marginalized areas e.g. folklore and literature which include even popular literature have come in the center of discussion. But this subversion, however, has taken place at the oretical level only. In fact, folklore and literature suffer from apathy, disinterest and lack of understanding even at the hands of its own people in an age of all-pervading consumerism.
In the present century when comparative studies have opened new avenues of research and when marginalized issues no more remain ‘silent’ as ‘others’ or decentered, recognition of racial, communal or regional specificities leave sufficient space for preservation and growth of various ‘voices.’ Under such circumstances, it is imperative for an Indian folklorist to try and preserve folklorical traditions in one form or the other before they are eaten up by pseudo | (post) modernistic razzmatazz and see them in an active interaction with its counterparts in the country. Our Tradition of Folk-Lore,Performing Folk Arts,Oral Literature-Music and Devotional Songs is very very Rich.This has helped to keep alive the spirit of our people.But One can rarely find the Singers & Performer Folk Artist in their original style with the understanding of their MARMA(Hidden Mining)
Dr. NIRANJAN RAJYAGURU is a Renowned Folk & Devotional Singer,Emient Poet, Critic,Research Scholar,Writer & expert of Indian Traditional Performing Arts. To day he is a B HIGH grade Artist in T.V. & Radio.Who has devoted his entire life after Folk Songs & Devotional Music Right from his early childhood. He had developed tremendous love for gujarati Songs.Moreover,the Almighty has blessed his with extremely sweet voice. With the result that he found recogition from young age. His name and fame increased gradually he came in to limelight not only at the state level but at National and even at International level,through Radio and T.V.
Dr. NIRANJAN has sung Hundreds of Gujarati Bhajans and Folksongs. He is a outstanding Folk Artist in Saurashtra region. He has a genuine Folk voice without any improvisation,very simple and strait singing.
26 September 2017
24 September 2017