Jakdi: Jat Haryanvi Marital Songs of Leisure

The everyday geet (songs) of Haryanvi women which they sing through all the major and minor events of their life are called jakdi. As a result, jakdi geet comprise themes that pertain to every context imaginable in a married woman’s life. There are some jakdi geet that are about the unmarried life too, but the focus of this article is on songs that are about a woman’s married life, which is traditionally seen as the initiation of a woman into womanhood. These songs not only include the ones that younger women might hear, and imbibe, from the older women on various occasions, but also those that women twist and recast to fit their specific space and contexts. Apart from being sung at social occasions and gatherings these songs are especially known for being hummed while doing the daily chores.

In terms of being learned by heart by means of simple repetition, these songs are more easily picked up by the younger generation than other songs related to marriage rituals. These songs chosen for this article express the desire of a newly-wed woman to assert herself in a world that is alien to her. It is in this forthright manner that she plans to familiarise herself with the unknown. It is not going to be easy - the songs warn her. She is not going to give up - the songs remind us. Jakdi reflect the centrality of the family as a social unit. Some of these songs have a very joyous tone. They can even be danced on. However, some of the songs are sung very slowly in a doleful manner. For example, the following song expresses the discriminating ways in which sons and daughters have traditionally been perceived:

‘Bir ek maa ke jaaye re, lote the ek sareer, ke kismet nyaari nyaari re’

'Brother, we have very different fates even though our origins are from the same womb'.

The subject matter of all the songs is of a grave nature, but its treatment is often sarcastic and exaggerated. The problems of a married life, like harassment experienced from one’s in-laws is alluded to evasively. But singing the discontents, a woman uses an explicit form to express the implicit.

Below are five jakdi geet translated from Haryanvi to English that are related to the desires and experiences of a daughter-in-law. She is the speaker in all these songs. In the first one, she tells us about the gifts her husband got her from his travels. In the second one, she complains to her husband about his mother. She is sure that she wants a separate place she can claim as her own, as she cannot take her mother-in-law’s rants anymore. Note that this is a song from a time when moving out for a married son was looked down upon, as it not only meant that he was evading his responsibility to his family, but also giving in to the whims of his new wife. In the third song, a very cheeky daughter-in-law warns her mother-in-law to get ready to serve her as she will be the new mistress of the household. In the fourth jakdi, the daughter-in-law makes it very clear that she is not an object to be pushed around by the in-laws. She warns everyone of the consequences of any kind of ill behavior towards her. In the last song included in the article, the daughter-in-law establishes her will to be taken seriously, since a lot of important decisions are in her hand.

Very rarely is the song entirely dedicated to a man. He does make an appearance in the father/husband/brother/brother-in-law figures, but his appearance is more to do with the emotions it generates in the woman who is the speaker in the songs. He is addressed lovingly, reproachfully; he is complained about, complained to, and so on. But, in the songs sung by women about women, he does not get to play the protagonist.

In the following translated songs, some Haryanvi words have not been translated like jeath, the elder brother-in-law; devar, the younger brother-in-law; nanad is the sister-in-law; and, lastly, saas, or sasu, the mother-in-law. The songs below are both sung at marriage gatherings as geet and on a daily basis in villages where there are women who know them by heart. It is incredibly rare to see women sing these songs on a daily basis in urban spaces. It would be apt to call them songs of leisure as they are sung by women in their free time, or while working, or simply when a group of them gather to have tea and snacks. Reflecting the relatively slower lifestyle of the countryside, the tone of these songs is mellow when hummed daily. But the speed and mood picks up to transform them to dancing songs on marriage functions, or any other special gatherings.

The five songs placed below are a good way to begin understanding the kind of songs that comprise jakdi. In a fast paced world with little or no creative contact with one’s roots, and a lifestyle that has little space for such songs, their primary documentation and translation makes one marvel at their relevance in an urban context. This connection is marked not by tension, but by the possibility of cohabitation.

Jeath gya Dilli, devar gya Mumbai

kala gya ri, Kalkatte ki galiyaan

Jeath laya pede, devar laya laddu

kala laya ri kali gajar ka halwa

Jeath laya dhoti, devar laya kurta

kala laya ri kale kapde ka lehnga

Phat gayi dhoti phat gya kurta

khoob peha ri kaale kapde ka lehnga

Jeath laya ladka devar laya ladki

kalla laya ri kali kutiya ka pilla

Nyaaara ho gya ladka, byah gayi ladki

khoob khilaya ri kaali kutiya ka pilla

To Bombay my devar traveled, my jeath to Dilli,

he, whereas, roamed Kalkatta’s narrow winding alleys.

Jeath with pede, devar with laddu came back,

but he came back with carrot’s halwa so black.

They brought back a dhoti and a knee-length skirt,

For me he got a heavy skirt in black.

The dhoti and the shirt tore from front to back,

I continue to whirl my heavy skirt in black.

With the two, a boy and a girl came back,

But he brought back: a bitch’s pup black.

The children drifted away: married or grew up,

while I play on with the bitch’s black pup.

Tumhari maaye lade din raat, humse hoti na bardast,

Nyyara ho ja, nyaara ho ja bhartare.

Humne paiya choon bhatera, paratha tera ban jaye

Fulka mera bhi ban jaye, chooorma pappu ka bhi ho jaye

Nyyara ho ja, nyaara ho ja bhartare.

Ek paaiya doodh bhatera, coffee teri jo jaye

Chai meri ho jaye, botal pappu ki bhi bhar jaye

Nyyara ho ja, nyaara ho ja bhartare.

Humne ek nanad bhateri, rakhi teri bhi bandh jaye,

Jappa mera bhi kat jaye, jode pappu ke le aaye,

Nyyara ho ja, nyaara ho ja bhartare.

Mei toh apne sajhe sasur nei lungi dabba tera bhi de aaye,

Bhajji meri bhi le aaye, school pappu ko bhi chhod aaye

Nyyara ho ja, nyaara ho ja bhartare.

Enough with your mother who fights

me day and night.

Draw a line, husband,