In the heart of central India, Vidarbha’s cultural life is deeply tied to its rural rhythms, religious customs, and oral traditions. Among the most distinctive expressions of this heritage are its folk songs, which have been passed down through generations without written scores. Each song form serves a clear social, religious, or occupational purpose.

They accompany the work of farmers, mark the observance of festivals, and reinforce local belief systems. Some are closely connected to community rituals, while others provide a structure to daily household activities. This enduring tradition is sustained not through formal teaching but through the shared memory and participation of the community.

1. Potrajchi Gani

Potrajchi Gani is a devotional form of singing associated with the Potraj communities in Vidarbha. These songs are dedicated to the goddess Mariaai, who is central to the spiritual life of the Matang and Mang castes. The tradition is not tied to large temple ceremonies but often takes place in localised rural gatherings. Potraj performers typically appear in brightly coloured attire, sometimes carrying ritual whips as part of their religious symbolism. The songs are performed during events linked to vows, thanksgiving, or annual fairs devoted to the goddess. The performance is both an act of worship and a declaration of the singer’s identity as a Potraj. There is no written record of these songs; they are learned by listening to elders and replicating the performance.

This method of oral transmission ensures that the style and content remain closely aligned with community tradition. Potrajchi Gani continues to hold an important place in the devotional culture of rural Vidarbha.

2. Bhalari Geet

Bhalari Geet are agricultural work songs sung by farmers, especially during paddy cultivation. The name is linked to the rhythmic pace required for transplanting seedlings in wet fields. These songs are not simply a background activity but an integral part of the agricultural process. Farmers sing them in groups to coordinate movement, particularly in large-scale sowing. The lyrics often refer to rainfall, soil, and the physical labour of farming, alongside observations of village life. Singing in the fields helps maintain a steady work pace over long hours and physically demanding conditions. This tradition is especially noted in regions with strong paddy cultivation patterns, including the eastern districts of Vidarbha.

Like other oral forms, Bhalari Geet are not recorded in formal archives but survive through active seasonal practice. While mechanisation has reduced some manual agricultural work, the songs remain in living memory for many farming families.

3. Jatyavarchi Ovi

Jatyavarchi Ovi are traditional songs sung by women while grinding grain on a stone mill. The term “jati” refers to the grinding process, and “ovi” is a form of sung verse. This practice is found across Maharashtra, but it is particularly rooted in Vidarbha’s domestic routines. The songs serve as a rhythmic accompaniment to a repetitive household task. The lyrics vary widely, ranging from devotional themes to observations on family relationships and social life. Some verses include witty or imaginative lines that reflect the singer’s thoughts or experiences.

They also act as a form of shared social space, with women gathering to grind grain together and sing in unison. The decline in the use of manual stone grinders has reduced the frequency of this practice, but in many villages, the tradition is recalled through performances at cultural events. This song form provides insight into the integration of music into daily labour.

4. Vasudev Tradition

The Vasudev tradition involves a community of itinerant singers who perform devotional songs to Lord Krishna in the early morning hours. In Vidarbha, they are a familiar sight in rural and small-town settings. Members of the Vasudev community wear a distinctive conical cap adorned with peacock feathers, and often carry a stringed instrument known as a tambura. Their songs include praise verses and blessings for the households they visit. The performances follow a pattern where the singer delivers a blessing, sings a short devotional verse, and moves on to the next home.

This is both a spiritual and livelihood activity, as households offer alms in return for the blessings. The tradition is estimated to be over a thousand years old and is seen as a living example of oral heritage. Vasudev singers depend on the memory of their repertoire, and training takes place entirely through apprenticeship within the community. Despite changes in rural life, the practice remains active in many villages of Vidarbha.

5. Bhulabai Songs

Bhulabai songs are performed during the Bhulabai festival, which coincides with the Navratri period. The name “Bhulabai” refers to a form of goddess Parvati, while “Bhuloba” is associated with Lord Shiva. In Vidarbha, the songs are performed in homes or village squares, often in a circular formation resembling the Bhondla dance. The verses begin with lines invoking Bhulabai, followed by calls to Mahadev, such as “Belachya jhadakhali Mahadeva tu” (Mahadev, you are under the bel tree). These songs have a fixed seasonal timing, tied to the post-monsoon agricultural calendar and the festive period. Participation includes both children and adults, reinforcing community bonds.

The practice is learned informally, with each generation picking up the verses by singing alongside older participants. The lyrical content is rooted in devotional themes, but the act of collective singing also serves as a social occasion. The tradition reflects how music is woven into both religious and social life in rural Vidarbha.

These five forms represent distinct aspects of folk singing in Vidarbha, each shaped by its specific social or religious role. They are tied to agricultural labour, domestic work, itinerant devotional practice, and seasonal festivals. While their performance contexts vary, all rely on oral transmission rather than written notation.

The continuity of these traditions depends on active community participation, whether in the field, at home, or in shared ritual space. As living cultural practices, they offer insight into how music functions as a practical and symbolic part of rural life. Observing these traditions highlights the persistence of older forms of expression in a changing environment.