Evolution and Assessment of South Asian Folk Music: A Study of Social and Religious Perspective

This paper describes how South Asian folk music figured out from the ancient era and people discovered its individual form after ages. South Asia has too many colorful nations and they owned different culture from the very beginning. Folk music is like a treasure of South Asian culture. According to history, South Asian people established themselves here as a nation (Arya) before five thousand years from today and started to live with native people. So a perfect mixture of two ancient nations and their culture produced a new South Asia. This paper explores the massive changes that happened to South Asian folk music which creates several ways to correspond to their root and how they are different from each other. After many natural disasters and political changes, South Asian people faced many socio-economic conditions but there was the only way to share their feelings. They articulated their sorrows, happiness, wishes, prayers, and love with music, celebrated social and religious festivals all the way through music. As a result, bunches of folk music are being created with different lyric and tune in every corner of South Asia.

Since ancient era the development of art and culture is going on. Folk music is known as the fundamental element of art and culture. Our planet is roaming with 195 different nations whose are strongly connected by music (Albert, 1999). Though they have many types of languages, religions, foods, lifestyles but they are almost common in arts. Folk music is that form of art which was grown up since every nation's establishment. Famous musicologist Dr. Chaitannya D. Ranade has defined folk music as -"The music of people, by people and for people is folk music" (Chaitannya, 2012) Asia is the biggest continent with over population and South Asia is different in various cultures. Music is known as a most ancient art here. After ages, south Asian folk music has been changed in many ways and spread its branches. Mainly the structural changes of folk music happened by the evolution of language. Then individual musical tunes raised and people living with a separated community made various styles of folk songs. It has evolutes with people's taste, transmitted orally. So, this can be very difficult to find out the original composer of every folk song (Hossain, 2020). But history briefs that it composed by ordinary people followed by their tradition. Music is very close to their life cycle, most of them are a part of rituals. From the ancient period south Asia suffered many geographic and political changes near about thousand times. For that reason folk music moved here and there with people and settled after their independency (Saha, 2020). But between those periods, a huge customization has been created by the folk people to separate themselves from the others. As a result, we have revealed more over hundred patterns of religious songs, marriage songs, love songs, sad songs, festival songs, classical songs, boat songs, harvest cutting songs, season songs, separation songs and sufi songs in every rural areas of whole south Asia. After 20 th century, it becomes a developed urban civilization and the world recognized their folk music as an incredible heritage. The purpose of this study is to find out the reasons for the survival of primitive folk songs among sophisticated music like pop, rock DJ, hip-hop etc and discuss social-religious connectivity.

Background of the Research
South Asian literature and music can be explained by some book like Charyapad ; an ancient Buddhist "Punthi" (a thousand years old book -written on palm leaf from Nepal) and Natyashastra by Varat Muni (India), Dastan-e-Amir Hamza (Pakistan), Sangam (Sri Lanka). Bangladesh, India, Pakistan, Afghanistan, Bhutan, Nepal, Maldives and Sri Lanka -these eight countries are known as South Asia together (Hiromi, 2012). But they are very different in culture and each country contains variety types of folk music. All of the folk songs have own structure, theme and composition. Though they have different tastes, folk songs are made with their choices and that is an incredible evolution rising continuously in South Asia.

What is the main texture of folk music in South
Asia? 2. How many types of folk music in South Asia? 3. Why people assumed own music in society? 4. Why folk music is extra ordinary in South Asian culture? 5. What types of changes happening to the South Asian culture in modern ages?

RESEARCH METHODOLOGY:
This research is a descriptive-qualitative research that includes historical study of folk music, data collection and analysis, listening ancient and modern folk music of different part of South Asia, collecting photos and gathering information from rural South Asia.

Review of Literature
In this study it reviewed topic relevant literature, articles, e-journals, websites, research reports and other documents to accomplish the research topic.
History of south Asian music -In every rural part of south Asia, music is not just a form of entertainment. It is an important element in many activities of daily life there and not to be used commercially. We have found the first symbol of music after discovering Indus valley civilization of the 3 rd and 2 nd millennia BCE. This valley has two ancient cities, known to us 'Mohenjo-Daro' and 'Harappa'. Some symbols like bronze statue of a dancing girl, terracotta and pictographs on the seal, ancient musical instruments (flute, drum) proves that the first civilization of south Asia had a modern art and culture. They had been terminated by the arrival of 'Aryan' civilization. Aryan came from the northwest part of Asia. Their religious poetry and different types of hymns are composed by the bard-priest to the praise of God. These are called 'Vedic chant' and it is known 'Veda' together. There are four 'Veda's and this ancient religious poetry is the basement of Hindu religion in south Asia. According to Winternitz (a German scholar of Vedic literature), these gathas and samavadsukta's (conversational hymns) in Vedas were prototypes of later folk songs, ballads and was the root of further development of dramas (Chaitannya, 2012).
Besides, the epic poems 'Ramayana', 'Mahabharata' (also known as 'Puranas') and the famous sermon 'Shri Shri Bhagavad-Gita' are also example of Hinduism. The pure ancient art of south Asia was identified after we found 'Natya-shastra'. It is a book of the explanation of drama accompanied dance and music which was written by 'Bharata'. Same time in the east part of south Asia, an ancient 'Punthi' (tale) was written and composed by some Buddhist poets. These are known 'Charyapod' together and it has different language-ancient Bengali language. Mainly these ancient books are the foundation of south Asian music and after much development it classified by two parts-classical music and folk music. There are also Generally the senior person of family and society (grandmother, aunt) and young girls (sister in laws, cousins and friends of bride and groom) were used to perform these types of wedding songs in 19 th century.
They used various traditional instruments like dolok, flute, sehnai and performed chorus with claps. In 20 th century in advance of electronic technology, wedding songs were played through cassette, CD and speaker. Boys were started to participate with girls in wedding functions. In the middle of 20 th century, wedding celebrations became very popular in society and an unexpected competition of luxurious wedding party began. Now a day's wedding songs are performed with dance, live music and DJ party is a mandatory part of wedding celebration. Even bride and groom both perform together with their mates. Native folk songs are performed with DJ and heavy metal instruments. Sometimes Bollywood songs are played instead of folk music.
Socio-economic cycle -Folk music is very close to this cycle. From the ancient period, south Asia had a civilized nation. Most of the people were farmer in the beginning. By the renovation of civilization people started to change their occupation for better life. As a result their economy grew up and we found much social discrimination between rich and poor. Rich people were a very few in number, but most of the general people were poor and they had no entertainment. Most of them were boatman, fisherman, snake-charmer, weaver, blacksmith, potter, coachman, teacher, saint, herdsman, wood-cutter etc. Their lifestyle, sorrows and happiness were taken placed in their music and that's the way they share their feelings with others.
In Bengali music history the ancient book 'Charyapad' represents the traditional literature and music practice in Bangladesh. After 'Charyapad' many antic book likes 'Geeta-govinda', 'Nath-geetika', 'Srikrishna kirtan', 'Monosamangal' also described the continuous musical movement in few centuries. Bengali folk music mainly inspired by these books (Chakraborty, 2011). During the British period, Bengali rural community became converting to urban. In this time, folk music was started to get popularity and composed by some educated urban people. Ramprasad, Komolakant, Ramnidhi gupta, Kalimirza, Shridhar kathak, Dashorathi roy, Govinda adhikari, Gopal ure, Madhukan, Girishchandra ghosh were the respected folk song writer in the first half of British period (Chakraborty, 2011).
They had introduced Bengali music with a new pattern and folk song became simplified. By following them, composing music was a famous profession to the new generation. Tagore family was the example of that time. Most of the young men of this family were like to compose music. Jyotirindranath Tagore, Rabindranath Tagore, Dijendra lal roy, Kazi nazrul islam, Atul Prasad sen, Rajanikant sen, Lalon fakir, Radharaman datt, Hason raja, Ramesh shil were the most popular music creator of Bangladesh (Prabhat, 2005). Before the arrival of technology in south Asia, the entertainment in the rural areas depended on a large coverage of stage performances by folk singers. The rural folk music can be classified in numerous sub genres likea) Lalon -This is the most popular folk music, written and composed by Lalon Fakir of Kushtia, Bangladesh. His spiritual composition and unique style is liked by the rural and urban generation both. These songs are very popular in abroad also. Example -Dhonnyo dhonnyo boli tare Bedheche emono ghor Shunnyer upor posta kore. Meaning -hails that Almighty, who has created the world on vacuity.
b) Bhatiali -This is a kind of music that always composed by a common raga (mode) and sung by fisherman or boatman. Bangladesh is a land of river and a good number of rural people lives by catching fish. They have to spend near about six months on boat and they compose songs to avoid loneliness. Generally this type of song has a long tune emphasized by water and the lyric focused the desire to go back home. Folk music is closely associated with farming and other such professions and evolved to alleviate the hardship and break the monotony of the routine life.
(Cultural India, 2020) In India, the folk music is almost same as Bangladesh in tune, but they have different language and rhythm. India is one of the biggest countries of Asia and almost every region in India has its own folk music. As early as 400 BC, Indian musical treatises had drawn a clear distinction between marga sangeet (music for the gods) and desi sangeet (music of people) and it is the latter that evolved into what we now know as folk music. The Indian subcontinent is a huge and diverse area with hundreds of different languages and dialects, and folk music varies greatly from region to region (Jameela, 2011). ii) Naatupura paatu-Naatupura paatu is a traditional folk song of Tamil Nadu, but also played in Rajasthan, India. These songs are usually accompanied by traditional drums and sehnai. Sometimes traditional dance performance also accompanied with them. Example -Nattupura paatu onnu Naan padikkiren kelu machaan Nattupura paatu onnu Naan padikkiren kelu machaan.
iii) Kajri -This is a traditional folk song with classical motif, originated in Bihar, India. This type of song is known to be gloomy and loneliness, sung by women. During monsoon when their husband has been away from home, kajri song accompanied them to enjoy the loneliness. This song had been composed in particular ragas and this song is classified in semi-classical genre in modern ages. Example -Mag bichkare bar jori ram Sham salone sawariya iv) Maand -This is a traditional folk singing style of Rajasthan and also known as semi-classical music. This song has the soulful music with its expressive scales of sarengi and the lyric tells about the life. Folk music is also used for educational purposes. For instance sex education has traditionally been taught in Andhra Pradesh by song. There is a function when a girl has her first menses. In this function the elderly women in the community gather at the house (men are definitely excluded) the girl is given her first woni and langa (half sari which is worn by unmarried girls), rich food and other gifts. During this function the women sing songs that are extremely bawdy. To an outsider this would seem uncharacteristic of obviously respectable community members. However the function of such songs is to provide the girl's first instructions on her emerging womanhood and what her future marital duties will be (David, 2020

G) Klasik -Classical traditional music of Afghanistan which is called Klasik is under influence of North
Indian classical music. This is quite close to Indian and Pakistani classical. There are several genres: sung poetry especially ghazals, and also instrumental pieces naghmeh and ragas. The music is predominantly urban and has close historical links with India and Pakistan (Simon et al., 2000). Each ethnic group in Afghanistan has its own style of folk music, with its own sound. During Taliban period, music has been very restricted in Afghanistan but some notable folk artist keep representing their tradition and culture as well. Safdar tawakoli, Faiz karizi, Sakeeb hamdard, Rizwan munawar, Mangal are most renowned folk artist of Afghanistan. Folk songs of Pakistan include the traditional forms of Balochi, Pashto, Punjabi, Sindhi and other regional languages. These are truly motivated by Sufi styles like Ghazal and Qawwali songs. They also have a huge collection of religious songs. Besides these, Pakistan is known as a valley of art with traditional music.
i) Qawwali -Qawwali as a musical form is closely linked with the Sufi tradition of Islam and the particular practices that Sufi scholars developed to achieve closeness to God. When Muslim Sufis came to India, the first thing which struck them was the important role which music played in the socioreligious life of the local inhabitants. They realized that music would help them to communicate with the people and attract their attention towards the tenets of Islam. 18 Ghazal is a structured form of love poetry, written in six to twenty-six paired lines. This poetry appealed to people of all classes (Aleen, 2018). It is generally Urdu language based and has a connection to the root of classical Arabic poetry also."Ghazal" is Arabic word which means "Talking to women". Meaning -pain increased and crosses the heart; it has difficult for me to live as an oppressor. I have so many complaints now, why I have loved someone ever? I am overwhelmed with lost memories, a series of pain lingered in my heart.
ii) Shindhi kafi -Sindhi kafi is an indigenous musical form of Sindh. The word kafi, is of Ararbic origin, used in the sense of "final" or "enough" in the expression "Allah Kafi", which means, "God Almighty is Supreme". Thus the kafi is a devotional form of music composed in a particular form derived from a mixture of classical, semi-classical, and light music forms (specifically, the kheyel, tappa, thumri, and geet). The mystic poetry of the Sufi saints is usually sung in this mode. Example -Ku tak pernah terfikir jatuh cinta pada dirimu Tak pernah terfikir kau kan jadi yang terindah.
Meaning -what to do if you want to be 'cinta pada dirimu'? Take a look at each and every one of this.
iii) Hindko music -Music from Hazara Division is sung in Hindko language and is generally performed in ether the 'Mahiyay' or 'Shaer' styles (Marian, 2004 Bochor bochor aste hobe tomay durga ma.
Meaning: you have to come every year, mother Durga.

Traditional musical instruments
There are various types of musical instrument used in south Asia.

Innovation of folk music in South Asia
Folk music is recognized as a heritage in South Asia now a day. During British period, the people of this area were started to learn European culture and the local culture was getting improvised by urban people. They had to change their profession, life style, language, habit overall a complete transformation because the British government wanted to make them their follower. But the people didn't like that and they fought for liberation. After the independency South Asia becomes very decorative by conserving their individual folk culture and preserves the core of each nation. We should be very thankful to technology and the inventors of different media that helps us to record and broadcast music. Gramophones, Radio, Television, Cassette player, CD player, computer, Walkman, Mobile phone, iPods are the most popular media for music. At the last of 20 th century, Internet becomes the latest communicating media and getting popularity day by day. Now a day, folk music is highly recommended for identification. For example -international games like Olympic, World cup tournaments or in any reality/charity shows, all of the organizing countries represents their traditional folk music in opening and closing ceremony both. That is really the matter of pride and also prestigious.
After ages, the original composers of folk music were passed and they explored their music through the generation. In the megacities most of the music loving people has invented many electronic instruments using different technologies. These instruments are used with traditional instruments. Folk music is also sung with new compositions called 'Fusion' which is liked by our new generation. They often like to mix traditional folk songs with rock and pop music. So this is very encouraging that the original version of folk music with heavy metal instruments is getting popular day by day.
New generation is very much curious about leaning music and this advantage is the only way to exploring folk music globally. But some people doesn't like to mix or Fusion, even they aren't willing to use any band instruments with folk song. Actually they want to keep the purity of their music. Coke studio Pakistan took the first step by broadcasting these Fusions in south Asia. They had improvised their folk songs with a new composition and used highly professional electronic instruments to produce traditional tunes. They also made collage song with few lines taking from two or three different songs, used western patterns and that was a musical blast of the history of south Asian music. India also started this program followed by them and achieved highest popularity of all the television shows. Besides these, various types of folk song are uploaded by young folk artists in YouTube and social media also. The extreme uses of folk music are found in many movies, dramas and theatres of south Asia. The Indian movies like Laila-Majnu, Ali baba 40 chor, Lekin, Dor, Lagan, Swadesh, Mirza are based on Indian folklore and had a huge uses of folk music. They also have a good number of folk songs in their commercial cinemas. In Bangladesh, a lot of movies like-Behula, Rupvan, Suyorani-Duyorani, Sat vai champa, Nawab sirajuddoula, Nolok, Beder meye josna, Srabon megher din, Hason Raja, Moner manus are full of folk music. These two countries are very much sincere about their folk culture from the other countries of south Asia. Specially, Bangladesh became appreciated by the others after arranging "International Folk Fest" every year.

CONCLUSION:
Music's transformative reputation seems to be an ancient as discussions of music itself. Plato has Socrates remarks on this theme: '"And it is not for this reason Glaucon,' said I, 'that education in music is most sovereign, because more than anything else rhythm and harmony find their way to the inmost soul and take strongest hold upon it, bringing with them and imparting grace, if one is rightly trained and otherwise the contrary?'" On this point Aristotle agrees with Plato: "It is plain that music has the power of producing a certain effect on the moral character of the soul, and if it has the power to do this, it is clear that the young must be directed to music and must be educated in it" (Albert, 1999). This is an age of globalization and south Asia becomes an incredible part of this. South Asian folk music has transformed in a new figure but still connected to the root. So this progression is not harmful, if the original material exists. Evolution is just a process to take forward with a combination of different tastes and folk music rising tremendously combining latest technologies and compositions. This study reviews various aspects of the life of the people of different parts of South Asia, including religious rituals, livelihoods, which are associated with music. It is a complete explanation of the internal thoughts of South Asian native people and only folk songs contains their poetry and melody. Pop, rock, DJ, hip-hop, rap music have only beats, not emotions. These songs can create excitement only but folk songs are able to create happiness. Folk music has all those quality which cannot be found in modern music. That's the reason of worthiness of folk music. It will be helpful for other research; related with South Asian folk music. In 21 st century, opportunities to exchange new musical ideas, as well as preserve traditional ones, provide south Asian folk artistes an indication to innovating new styles that reflect their contemporary world. So, we can say that south Asian folk music turned into the international age of music through the thousand year's continuous evolution and achieved a glorious dignity.

ACKNOWLEDGEMENT:
This study was supported with proper help and guidance in the Dept. of music, Jagannath University, Bangladesh. Heartiest thanks to Dept. of history, Jagannath University, Bangladesh. All translations from Hindi, Urdu, Arabic, Pashto, Sindhi, and Bengali are mine unless otherwise stated.

CONFLICT OF INTERESTS:
The author declared no prospective conflicts of the interest with respect to the research work.