 all about and greeting the folk music. Thank you. Namaste, bye-bye. Yes, thanks. So let's see who is joining us live right now. Well, joining us here on this platform, one of the most amazing musician, Pandit Vishwa Mohan Bhatt, Padman Bhushan and Gramya Woodwinner, along with him is going to be just be just a singer, performer and actor. Also with them is going to be founder, Amaras Records is Ashutosh Sharma, along with them are non-manganyar folk musician, Ghazi Kanbarna and of course, non-manganyar singer, Mame Khan. And to session the chair, an amazing human being, a dear friend, the one and only Siddhartha Chaturvedi, founder and CEO event crafter, festival producer and director of Telvelia. Hedak, over to you and happy World Music Day. Siddharth, I have to request the host to open my video which has been stopped. Host, please. I wanna see my friends in that quickly. You have to switch on the video now. I can see Ashutosh, Ashutosh, have you? There you are. Hi, Mithin, how you doing? I'm doing good Siddharth, how are you? Very good, very good. Thank you so much for this and you've been hosting a wonderful session throughout the day. And I've been hope to it since 10 in the morning. I've heard some amazing people come and talk. And what a day, I mean what a wonderful day for all of us in the music industry to be celebrating this today together. Lovely seeing you, Dharth. And all the best. I can't wait to hear more about it because you understand the folk music in and out. Of course, Alvedia is the strong thing that you put director and producer off. So let's start it and all of you together. Ask him. Funny with the little. Yeah, I can definitely hear you. Mame, good to see you, Mike. Good to see you, Ashutosh. Hi. Hi, Ashutosh, that's a hi. Panditji, Namaskar, how are you? I'm fine, you've stopped the video. Okay, host, can you just open the video please of Panditji? Request the host. Namaskar. I think, yeah, I'm there, yes, yes, you're there. Yes, yes, you're there. I'm so honored that you are here and you've blessed us on this occasion, Panditji. It's such an honor and a privilege of us to have you in this August panel. I'm very happy also. We're just waiting for just CG to join. I think just see yourself joined. Hi, just CG, how are you doing? Yes. Namaskar, how are you? Namaskar, how are you? How are you? I'm so blessed to be here. How are you? So let me begin, ladies and gentlemen, I welcome you all here on Vyasa's August dot end experience for media and for this world and wish you warm greetings on the world music day. This tradition is not very old one, but it started in 18th in France, where the music concerts were organized everywhere in the country to celebrate a day dedicated to music. Here we are today with this August and Elizabeth panels of legends of music industry joining me in celebrating this day and transmuting this section of the day to the purest music law and unfiltered form of music, which has tested through the times and passed on from generations to generations. It is one of the oldest form of storytelling which is referred as folk law, while the term folk came in from a German world book, which means people by large and has been put to use since the 19th century. But mind you, the music it refers to has no records whatsoever for its origin. Some claim that the Indian folk music goes as back as in 1500 BC, where it's referred in Vedic literature. Before I go any further, let me formally introduce the illustrious panel to you all today. None of them needs any introduction whatsoever, as they are stalwarts and legends of music in our country, but still we'll introduce them without being audacious at all in doing so. I will begin with my reward, Pandit Vishwanath Bhatji. Pandit Vishwanath Bhatji is one of the few greatest musicians of our times, who have contributed immensely to popularize the Indian classical music all across the globe. His contribution is most significant as he has created a new instrument, Mohan Veena, having the elements of Gayaki and Tantikari, making it unique. Mohan Veena has given a new scope and possibility for a manifest fusion of Indian classical and western music. Vishwanath Bhatji is born in one of the most respected families of Jaipur, where I come from too. From over 300 years, the Bhats created this new generation to keep the Indian classical music pulsate and prosper. The heritity and environment played an important role in the musical endeavor of Vishwanath Bhatji. However, it is extraordinary that the image of Senku, he developed the guitar, made it into a classical instrument at the end. I request my fellow friends to please keep themselves in view. Please. My pleasure to have everyone in mute. Thank you so much. In the 16th and 17th, when Indian youth was greatly influenced by the western music, Vishwanath Bhatji made an impactful entry in the world of music. In the last 50 years, he has been invited to perform in almost all prestigious music festivals and concerts, being organized in different parts of the world. He has performed in more than 80 countries so far. Pandit Vishwanath Bhatji has been honored with Padma Bhushan. Padma Shree is one of the few Academy Awards winner in our country. And the Sangheet Nathak Academy Award winner, Music Scientist Award winner, Rastreatan Singh Sambhan, Tantri Sambharath, Rajasthan Ratnam, and Global Music Awards to the name of you. I can't, I can keep on going on with Panditji's illustrious career and I'm too small in front of him. But Panditji, thank you so much again for joining in. Okay. I think now we should start the topic. Thank you for introducing so well to me. I'm grateful to you. Let us now concentrate on what we are here for. So Panditji, if you can begin this talk and let us know of the influence in essence of folk music that's coming from generations in today's time. Yeah, see the roots of any music is folk music. We have to remember one thing. Music came from folk, from home, from the women who are working, they sing, from the mother who sings lori. And in every occasion, if you see Jaisalmer, Badami, Jodhpur, all the villages of Rajasthan, you will find the folk musician is so deep rooted everywhere. And we people in Rajasthan, we grow up from our childhood by listening to our mom and all the women of the house who gather at the occasion, any occasion, whether it is a birth of a child, whether it is Gangor, whether it is Tees, whether it is Holy, whether it is Diwali, whatever. One thing is common, that is music. So we get to hear since the childhood, the music, the folk music. Then I would come on this topic that classical music came into existence after a few years where they took melodies and ragas from the folk music. And then they made some rules, some don'ts and do's to follow some norms, some regulations and then it became classical music. Means it is very rigid, we have to follow the rule. In folk music and other form of music, the rigidity is not so much. When you are singing any song, you can go from here to there in any other form of music. But in classical, we have to stick to the scale only. And there is the benefit of classical that it remains on one scale. Anyway, the difference between the classical music and folk is this, to apply the rules. Here we have so many good artists. You know, if you go to Jaisalmer, Burmer and these things, you will find thousands of Manga and Maganiars maintaining this art. And they are, I mean, like the custodian of folk music. We have Mame Khanji here. And look at Anwar Khan Sahib, who got Padmashree and Sangeet Natar Academy Award also. And so many others, so many others. Sagar Khan Sahib on the Kamayacha was the first person to get the Padmashree if I am not wrong. So this music has reached internationally and I would not forget to mention about the contribution of Chiri Kothariji, Komal Kothariji, who took folk music to the world because these folk musicians were very shy and not very organized in the manner. But Komal Kothariji was the person who took these musicians outside their village in big cities, even then to the foreign countries also. So this is something, I mean, we should see this. I give my to Siddharji for further comment. Great, great, Panditji. Thank you so much for revisiting this whole thing. And I now would like to introduce another legend of folk musician from Rajasthan, Shri Ghazi Khan Banu. Ghazi Khan Ji's father, Chukya Khan, was very famous. And Ghazi Sahib, from the age of eight, had started playing this music. And he was very young at that time. He probably did not study art. He then left his schooling and joined music. Ghazi bhai has performed with great musicians. All over the globe, you name it, Pandit Ravi Shankar Sahara, Yahudi Manit, Zakir Hussain Sahab, the famous flamenco, Laka Lere, of course, the Grammy Award winner, Kaleesh Muntaka, who travels a lot with us. Zubin Mehta Sahab, Peena Bose, Siddhar Sahab, Lata Mangeshkar, Ghazi Ghulam Farid Khan Sahab, Ustad Anzat Anzati Sahab, Pandit Hari Prasad Saraswati, Bajarath Bedi, Mr. Siddharji, along with contemporary musicians, Ghazi bhai, I would like to know from this panel that where does the evolution of the Manganiar tradition and the Manganiar community go? What is the record? And when does this tradition of the Manganiar tradition and the Manganiar community go? It goes on for many generations. There are many times when we go to the Raza Maraji's, to ask for their music, to go to the Raza Maraji's, to go to the Raza Maraji's, to go to the Raza Maraji's, and from that time on, our Raza Maraji's, we have never been to the Raza Maraji's. The Raza Maraji's songs are the Raza Maraji's songs. And their Raza Maraji's songs are the Raza Maraji's songs. We used to sing them from the Bakhan's, from the Shubhira's, from their Sadhi's songs, from their children's songs, from the Sadhi's songs, from the Dora Band's songs, from the Mefil's songs, so this has been going on for many years. Ghazi Bhai, your bandwit has an issue. If you want to turn off the video and talk, then there is no problem. No, no, thank you. Would you like to say anything else? No, just that our people, we are very happy that our people, the songs that we sing in the village, that are going on in the world today, are going to be very colorful. Pranidhi Shumar, Rivaar Sabji, Pranidhi Radishwarkarji, Yogi Menonji, Blanka Delre, Wolfram, Slammiko Dancer, Yuyo Mazi, Pina Boss, and Yubi Mehtaji. So with so many great artists, we are doing a folk musician, we have a big family, and many great jazz musicians, Slammiko Dancer, Jyotshi Dancer, with them, the folk music of Rajasthan. From the people of Rajasthan, there is a very famous show, Shingar, and on our traditional folk songs, that concert, they had a successful concert, which was one year old, any show would have been one year old. But they did it with Rajasthan folk music, their concert was 14 years old, the American Worldwide Tour. So what they did, they told us that, we don't want to criticize your music, whether it is Babiji's family, whether it is Loonagar, whether it is Kesshriya, we will dance on your music, we don't have any horses on it. So we are very happy that they have asked us about our music, and our music. In today's countries, the people who work, the words are known as Karachi Gorla, Babiji Ra Banu Ra, all the girls who work in the Marwari world, Babiji Ra Banu Ra, they don't understand this, even then, our music, their good music, the music of the songs, the Rajasthan music, they work very well on it. So we are very happy that today, on this level, there are a lot of people of Komal, and people like Pandit Ji, together with us, they show us a big format, and people like Pandit Ji, like Anwar Bhai, you sit here, we can't sit for a second with them, but they take us in this way, we know how to perform, how to cut, how to pick up, all these words, where did they go? All these people are here, these people have taught us, and we don't want to go ahead with that music, let's try our best. I want to say one thing, if you just permit me, please. Ghazi Bhai recently got Sangit Natar Academy of all, which is a big, big, big honor to this community and for Rajasthan also. So this Ghazi Bhai looks very simple, but what he has done, he has done a great job. In the whole world people are present, I have seen his concerts in France. I had heard about Ghazi Bhai's concert 20 years ago, and it was a long day standing experience, and the rock star style is a theatre, it's a theatre. It's a theatre. It's a theatre. The same thing which is an enthusiasm and a style to present, the whole world is on top of it. I saw his magic in France when many people come to meet him, many girls are also on top of him, they are very much on top of him. And many of his fans like him very much. He has his magic everywhere. Because he says this is the smallest musical instrument I would call, and very simple. Simplest musical instrument which has two pieces of wood there are many varieties and you can produce different kinds of sounds but there is a lack of it. This is amazing in his music. That's why the whole world believes him. Thank you. Thank you sir. Anyone who has seen the golden era of 90s in the country where indie pop scene exploded thanks to MTV and Channel V's of the world and that time when they got to India there was a question to say that that's today Jasbir Jassi his track Dil Legay Kuri was one of the first Punjabi household which was hugely responsible for taking Punjabi music to every nook and corner of the country and globe at that time. With the illustrious musical career both boasting of work and multiple albums Jasbir Jassi is a pop icon of the country with language music. Jasbir I welcome you to this great day and thank you so much for joining us. Jasbir my first question to you would be how much your music was influenced by folk music of Punjab and if you can please take us through the history of which heritage of folk music of Punjab. First of all I would like to greet the Pandit Ji Pandit Ji you have given your music especially the Indian music and you went to a global village and presented it and made us proud of it and not proud of it. So this is Ghazi Khan greetings to all folk music so folk music actually as much as I did I am famous in pop music but there is a lot of folk music in total I bring from folk music and then I present it in pop music. If you will see my heart the tune was the first song of Haryana which I influenced and made that tune then we made a jinduva jindumai jay chaliyon patiali utthon liyami reshmi naali it is a folk dance jinduva is called as bangra it is a jinduva jinduva is our folk dance Ghazi Khan he knows he has done a lot of shows with us we have done a lot of cultural shows so as the priest was saying folk is life as your life is the folk of your region it is the life in folk if we take Punjab one thing we have a saying it is adha pitta laheda paadha shaheda when Ahmad Shah Abdaali was doing a lot of attacks at that time it is said the one who ate the one who cursed is the prophet the rest is Ahmad Shah adha pitta laheda rest is Ahmad Shah your life it is a life it is a life it is different like rituals Ghazi Khan has said there are many rituals when the girl gets married she gets married red bangles or there are few rituals there are many rituals like banna banni maai banna tera baar khada if you want when we bring the girl to the house she doesn't wash the water the mother the mother the mother the mother so we sing the music of every place the music of every place the music of every type the music of every type I mean how should I tell you because I am getting nervous in the band I feel that if I talk like this then there will be a mistake but still I am sorry you will also feel better because you have seen the whole journey from classical to folk music and how many folk musicians you have and how much you have performed if you will tell me then you will feel better I keep going there and I keep listening to their rituals the rituals the rituals they will remember when I used to go to their house they don't tell me that the whole family the whole family the whole family the whole family the whole family the whole family so it is, it is a different kind of it is a different kind of a different kind of scene I do me say that I sing for I sing to folk not only folk Iiminate folk and a few things I have done After few days also my Kumash earlier one was demolished recently two days So history is very old, if you tell Pandit Ji it will be more authentic and it will have more weight in it. Jasveer Ji, you didn't answer, you spoke very well. I would like to say that you are not shy in front of me. You can easily say what you are worried about. I might look much older in my age, but I am only 25 years old. I thank you for your time. They have kept me on the panel with you. It is a great blessing that you get to listen to me. I understand that. I know that classical people who serve the gurus are not in the same tradition. Youngsters nowadays say that they are everything. But I know that you have served the gurus and learned from your gurus. You are humble, you don't tell them. But the sea that you take along with you, I think it should come. We shouldn't say it, you should say it. That is so sweet of you. I will now introduce Mame Khan. Mame Khan is a phenomenon today. He is also known as signature folk voice of Rajasthan. Has taken an ancient music legacy from the Golden Thar deserts to the screen of Bollywood. More than 60 countries celebrating the finest folk fusion in the 21st century audience. Known as an exceptional live performer, a famous Bollywood playback singer. Celebrated for his super hit on Coke Studio. Awarded for his unique compositions and loved for his colourful persona. Mame Khan is a folk star of Rajasthan. He is the new star of Rajasthan from the most prestigious festivals to prominent formats. And to be found across platforms through the world wide web. Rajasthan folk music global recognition. Mame Khan, you had a lot of power here. Mame Khan, you have been, again, I mean, this whole legacy has been passed to you through your legendary father, Ustad Rana Khan. Since you represent the youth of Manganya, you are the youth of the organizing community. How much do you see that this folk tradition is still alive in your community? First of all, greetings to everyone. Greetings to Panditji, greetings to Rajivayu, how are you? Look, you are sitting in front of such a big Degas and such a big experience holder. We are in front of Panditji. Let's talk about folk music. Like Rajivayu already said, Manganya's music has been running for a long time. So he also asked. He says that he is 15 or 16 years old. But once I had asked my father about his music. I mean, since when have you been doing music? So he asked me the same question. Son, this is the same question I asked your grandfather. So he asked me the same question. So he asked me the same question. So the music of Manganya's folk music, it's not just 15 generations. It's more than 15, 16 generations. It's been running since then. And what's in it? So when it comes to the day, we send Ram, Krishna, Shiv, Neera, Kabir, Shurdas. And I am very lucky. I am very lucky. That I was born in Rana Khan's family. And all these things I got to listen to, I got to see that they are singing. So, my father started with Riyadh and Krishna in the morning at 5-6 am. In fact, when I first, as the priest said, folk music, which is about classical music, folk music, it's a very big thing, it's a very true thing. When a boy or a girl is born, the first thing is the language. The teeth come later. So, of course, folk music is a very big thing. Thank you, priest. Thank you. Just like the people in classical music say, it's a very big thing for us, it's a respect and honor for us. Yes, you have just asked the question of folk music. I will answer it a little quickly, because I think I have to leave in half an hour. Okay, let me sit. If I look at folk music today, in folk music, the folk music of Manganiarsha, Langa, is from Jhangra, but popular songs too. Big songs, small songs. Now, let's talk about the big songs. Like I just said, Loona Gar. I changed it and changed the name. I gave it a name, I gave it a sound. Why did I give it a sound? It starts from the hook line of the song. The hook line of the song comes after Loona Gar. So, I changed it a little. I didn't forget the roots. I stopped the roots with my roots. I mean, the same roots. The same song. The same idea. But like salt in flour, I fused it a little. And that is according to today's time. Because the song has to keep its folk music alive. It has to reach the folk music as well. And to reach the folk music, you have to give a modern twist. So, I am doing that. And as far as I can say one thing, in the NX on, my sleep is at 4.30. So, first I was scared. Who will come at 4.30? So, when we were still in the green room, we had no problem. We had a 4.30 student. And when we make our so-flow, everyone knows Jasmi Rai, everyone knows Ghazi Bhai. When we go and do so, we make a so-flow. The first song will be taken, the second one will be taken, and the third one will be taken. I am telling you honestly, I have put one song in it. Because the one that was sleeping, in the Pune, there was a little challenge in the Pune. How many people will understand the song? Will they understand the song? Will they understand the rhythm? I have put one song in it. And as soon as I went to the stage, seriously, I am telling you honestly, the one that I saw, I told him about my Bawre. I told him to sing for Bawre. I told him to sing for Aitbar. He didn't ask for any of my Bollywood songs. The first voice that came, let me tell you, let me tell you, you know, and I, on the stage, completely changed the so-flow. Because at that time, I released my album, which I had put together. And this album, besides India, Rajasthan's first crowd-funded album by AnyManganiar. It was the first crowd-funded album. And all the songs of that album were ready to be heard. So I, I mean, the folk music that you just said, I mean, I am not singing the same way. Like you are saying, I am so glad to know that if you are performing in NS7 Weekend, and people are demanding from you, then that means, that means the youth is aware. The youth knows what folk music is, and they are following you. You know that. You should listen. So that's so nice to know. Going forward, I will now introduce Ashutosh Sharma. Twelve years ago in 2009, Ashutosh Sharma gave in to his love for music and launched Amaras Records. An independent label, to frontline folk music and musicians. Since then, Amaras Records has released 20 albums, including field recordings of world-class folk musicians in their homes and villages. Many of its albums have received five-star reviews from Songlines UK. They label Amaras Records. It's also at the front front of Vanayal Revival. And the first and only Vanayal Cutting facility in India. So, that's why they bought this machine from Germany. Greg, to have you here, Ashutosh, in folk music, you started a new label. What? What? Triggered a label which is done for music only. Firstly, greetings to the Panditji and hello to Jesse. It's an honour. Thank you, Eema, for putting me on a platform. Till now, I had been listening to both of you on all the shows. Today, I have so many of you here. So, greetings to you. If you make a mistake, please forgive me. So, as a music lover, going back to your question, I started basically by default. I was trying to salvage some artist whose rights were on a record label. It was just purely out of frustration of like there was no music in the country. We used to listen to all the seniors in the classical music. I know the top two in every genre, every instrument or style, but you didn't know from you know, who are the other musicians. The folk scene, we just didn't know anybody. Frankly speaking, they made it to Bollywood. So, I had to contact another record label because his rights were with that label. I've been running a travel agency. So, couldn't contact the other record label as a travel agent. So, he started a record label. I'm Punjabi, so I think much later, I'll do the action first. So, that's how it happened. And even then, it was not about folk music at that time. So, folk music also completely happened by chance through the travel company. We were handling travel work for the Manganiar seduction. So, it was like strange because I used to go with meet my friend, full friend who was moved to US throughout life going to UK to listen to BB King at Albert Hall. You know, plan all my trips based on like, I was very much into Alan Lomax and, you know, old Hindi Urdu girls and Kavali also along with that. So, they used to listen to all this and they used to go to listen to it but then they were frustrated. Why are we not getting any music? So, it just so happened that my colleague had gone to drop some tickets off or the practice was going on for Manganiar seduction. So, we were handling the travel. So, my friend played, called me on the phone. I heard the practice on the phone. So, that's when we just heard it and I was like, what is this? We didn't know about Manganiar still, you can say 20 years. So, that's when we just came out. Manganiar still, you can say 2009. I mean, and I used to consider myself, you know, we know a lot about music. So, and so on. So, and that's when we heard and realize this sound is production and so on. But we realized that this sound is good enough to release as an album as a soundtrack. It was like for us, it didn't require the light and the and the visual. So, so, finally, in 2010 May, that we'll record them properly. So, we booked a shooting floor in Saraswati School of Music because we couldn't come to the studio. So, we recorded it in one take. I mean, there was a break because the beans were cold. So, it was like this because we were logistic. So, we had booked their bus. They came today. For the first time, we met them directly in Saraswati School of Music. We don't know anything about them yet. They came today. They drank tea, sat down, went inside, bought something outside. They went inside, drank tea, sat down and gave one take. They woke up, ate food. They went to the bus. I was zapped. What is this? Who are these guys that they have just come? No practice, no nothing. That's the supreme talent of the company. Each person has this 32nd to 192nd piece in this medley. And that bus means, they came to the spot and went away. The rest of the musicians sat on the sound check for 4 hours. We drank so much cigarettes. You know, people said, this was in May. This was in May. Because I also have been inspired in life in general with the recordings of Alan Lomax. Very much into blues music and him going out down into the Mississippi Delta. I just left behind a couple of friends who used to watch videos. They used to shoot cameras. They just took them and said, I don't know who they are. And what do they really If their 32nd was so amazing what is it that they have actually practiced and played in life and learned. So what was that? And for me always it was always the feeling of recording. So I've personally always been into live recording even listening wise. I've always preferred live. I'm not into counting. I have no clue about anything. Just I know about music if it feels right or it doesn't feel right. I congratulate you of the work which your recording has done over these years. You've been there is a a brand and you've made them travel across the globe. So now let me move forward and ask a question Jassibi what is the secret sauce behind the burst into mainstream and how it has actually become so commercially viral languages to learn from it. What is the what is that Punjabi music has done which other have not been commercially what I'm saying. Jassiba you are a mute. Can you just unmute yourself? Yes, yes, yes. First of all, what I will talk about is that in Punjabi music, in every folk music there is one life, but in Punjabi music, I always think that there is a little more variety of life. I mean, they are crying, their emotions are very high, when they are in a hurry, their emotions are high. When they are happy, you have seen that our Punjabi people are happy about such a small thing that they keep putting bangra. So, and I will tell you that there is a scene of weddings here in Punjab. It is such that in every wedding, one singer or pop singer or especially folk singer, there are many folk singers, they should come, whether they come in 2000, whether they come in 2 crore. As much as anyone has the capacity, they have to come with them. Second, I feel that there are a lot of sounds in Punjab, there are a lot of sounds in every folk. But Punjab is one of those, because every attack that has taken place in Punjab, there are a lot of people, there are a lot of people here, buses also come here. There are Iraqi buses here, Afghanistan buses here. All the sounds of the place, all the sounds of the place, you get in Punjab. For example, let's talk about Gurbani, I remember there was a song in Khan's Film Festival. So there was an Arbi director there who was talking to me, we were talking to him. Hello. Yes, you are there, you are there. Say it. Yes, you are coming, you are coming. So, Arbi was a director, so he was talking to me like sitting there. At that time, I was telling him about Gurbani. He also asked the same question that even in Hollywood, Punjabi is done. So I was telling him that there are a lot of influences in us. For example, in Gurbani, I told him that at first, Allah, Noor, Upaya, all the people of Qudrat, there was one Noor, all the people of Upaya, so he understood all this. He said that at first, this is the word of Arbi. Allah is the word of Arbi. Noor is the word of Arbi. He said that Qudrat is the word of Arbi. So he said that there are such influences. For example, if we take a song of Gurbani, Satnaam, Kartapur, Nirpa, Nirvaira, Kaal, Murata, Juhni, the sound of that is so good. You must have seen how popular the tune was. So they liked the sound.