Hapu Gaan: A Traditional Nomadic Musical Form

Music has existed alongside human history. It emerged at the onset of civilization’s development. Even before the establishment of distinct languages, early humans in forests and caves sought out harmonious sounds. Over countless ages, these melodious sounds and rudimentary language became integral to primitive music. However, as civilization progressed, a ruling class began to form among the populace. In their quest for dominance, this ruling class caused the people to unite, divide, and migrate to various towns.

The worship of nature evolved into diverse religious beliefs. Consequently, a multitude of folk tales emerged from these beliefs. The impact of these folk tales has been evident throughout the alluvial region of Bengal since ancient times. The folk tradition of Bengal boasts a history spanning thousands of years. In ancient Bengal, the western area known as Rarh has been recognized as a hub of various musical genres since time immemorial.

Folk music undergoes evolution and development influenced by numerous regional distinctions. There exists a multitude of folk music genres; however, among these, Hapu songs are presently facing the threat of extinction. Hapu represents a form of folk music, or rather an artistic expression, predominantly found in the western region of West Bengal, specifically associated with the marginalized communities of the ancient Rar area. Although it was once prevalent throughout the Rar region, including areas such as Burdwan, Bankura, Murshidabad, Birbhum, and Nadia in Bengal, as well as certain locales in Meherpur, Bangladesh, this musical style currently persists to varying degrees in several villages within the Birbhum district. Each region of the globe showcases its own diversity and uniqueness through such musical expressions.

There exists a debate regarding the etymology of the term ‘Hapu’ as it pertains to Hapu songs. Dr. Ashutosh Bhattacharya refers to it as ‘Hapu song’ in the first volume of his work ‘Bangla Lok-Sahitya’. Similarly, Dr. Varun Kumar Chakraborty has also utilized the term ‘Hapu’ in his publication ‘Bangla Lok Sahitya Charchacher Itihas’. Furthermore, Dr. Madhavi Rooj has acknowledged theHapu songs are predominantly found among the Mal, Kakmara, Bede, Patua, Baiti, and Bajikar communities in the Rar region. These groups are primarily nomadic, having migrated from one area to another while leading a mobile lifestyle and seeking livelihoods in various rural towns. For instance, a Hapu artist named Barkat Ali resides in the Kutubpur Union of Meherpur, where he earns his living by performing the song “Hapu Gabo, Paisa Pabo” to the melody of the jhumur.

While the precise origin and historical timeline of the Hapu song remain unclear, it is widely believed that it was first introduced by the Bajikar community from Shital village, located in the Lavpur region of Birbhum. The current Shital village was formerly referred to as ‘Siddhal Gram’. The inhabitants of this village were known for their ability to travel across various regions, engaging in dance and song as part of their magical performances. This community had a strong proficiency in music even prior to the establishment of Muslim rule in the Rar region.

Tarashankar Banerjee has referenced these songs in his work, Jadukari, describing them as the songs of a girl’s voice. Conversely, Sameer Kumar Adhikari has noted in his book ‘Banglar Hafugan’ that “When Tarashankar Banerjee Mahashay’s ‘Jadukari’ story was published, there was little awareness of Hapu songs. This is because Dr. Ashutosh Bhattacharya Mahashay’s ‘Banglar Lok-Sahitya’ first volume was published in 1954, which was 12 years after the release of Tarashankar Mahashay’s Jadukari Golpo. term ‘Hapu’ in her book ‘Birbhumer Lokgeeti’.

Although Hapu is a song that expresses the lamentations of marginalized individuals, it also contains elements of entertainment and humor. The themes present in Hapu songs are diverse, encompassing mythological narratives, a spiritual awareness of secularism, and a critique of various social injustices and superstitions. Additionally, these songs narrate stories related to family life and extramarital relationships, often infused with primitive humor. The intention to convey the thoughts and emotions of the marginalized class through this musical form is clearly apparent. Hapu songs frequently feature expressions of affection from brothers-in-law and sisters-in-law, as love-related themes resonate strongly with marginalized communities across different eras. This influence on their society is mirrored in Hapu songs, which serve as a vital component of social life.

A remarkable feature of Hapu music is the utilization of different body parts as instruments. Hapu artists, particularly from the Hooghly and Nadia districts, produce sounds such as ha–fu–u…., ha–pu–u…, while simultaneously striking their backs with canes or bamboo sticks.

Similar to other songs from the Rar region, the term ‘lo’ is occasionally employed at the conclusion of song lines in Hapu songs. This term ‘lo’ is also found in the Bhadu, Tusu, Jhumur, and Alkap styles of the Rar region. Essentially, the songs from the Rar region can be readily recognized by the inclusion of the word ‘lo’. In certain areas of Murshidabad and East Burdwan districts, Hapu Song is referred to as Hapu Khela. Prior to commencing a Hapu Song, some individuals engage in various physical movements that resemble sports entertainment; however, these actions are fundamentally a form of demonic entertainment. It is primarily the marginalized classes who embrace it as a source of amusement, as Hapu Song serves as a common form of entertainment for those enduring the hardships of poverty and the relentless struggle for a life of necessity.

Hapu songs can be performed solo or in groups. Individuals who sing while traveling, working in the fields, or in their home courtyards typically do so alone. On stage, singers may perform solo or in small ensembles of two, four, or six. At the onset of Hapu songs, various dhuas are employed by the singers, who are particularly responsible for holding these dhuas. These dhuas can evoke strong emotions in listeners or elicit laughter. In Hapu songs, the melodic variety surpasses that of the rhythm. The melodic structure remains largely consistent across different regions, primarily arranged in the rhythm of the jhumur. Nevertheless, Hapu songs are performed with varying rhythms and beats while maintaining the same underlying rhythm.

While other folk music exhibits a slight influence from raga-ragini, Hapu songs do not incorporate specific melodies derived from this tradition. Instead, they reflect the natural speech patterns of the people, articulated within the rhythmic framework of Hapu songs. This is significantly shaped by regional influences, particularly the original tunes from the Rar region and the Jhumur rhythm. Distinct class divisions are evident in Hapu songs, revealing three tiers of artists. One group performs Hapu songs sporadically, exclusively on stage, and is typically engaged in a prosperous livelihood, refraining from performing elsewhere. Another group sings Hapu songs solely within their villages, receiving rice, pulses, food items, and money in return. The third group primarily relies on begging for survival and performs Hapu songs as a means of livelihood. This begging class is predominantly nomadic, dispersed across various regions, with some individuals adopting different appearances. They sustain themselves by singing Hapu songs on trains, buses, in urban markets, and at various fairs.

At present, Hapu is on the verge of becoming an outdated genre of music due to certain evident yet unavoidable circumstances. Thus, this artistic evolution is not an exception. Every form of art experiences transformation as time progresses. The impact of individuals’ daily lives influences nearly every sector. With the rise of imitation within our social framework and the pursuit of employment aligned with living standards, job opportunities for individuals in the lower class have multiplied significantly. Consequently, region-specific folk culture is being undermined by an urban-centric mindset in the quest for a better life. The economic demands of individuals are escalating over time. As a result, it is becoming increasingly challenging to sustain oneself solely through the practice of Hapu, leading the younger generation to abandon it as a profession.