Introduction: The Voice of the Village, the Soul of the Soil
In the quiet corners of Bengal’s villages, where life moves to the rhythm of rustling fields and the soft murmur of rivers, there exists a song—a kind of music you may not find on Spotify or hear at a city concert. But if you ever stumbled into a rural fair or a gathering around a banyan tree, you might catch it: a deep breathy chant— ‘Hapu-u-u-u’—followed by laughter, quick-witted verses, and a captivating rap of voice.
This is Hapu Gaan, an art form carried by the nomadic groups of Bengal like Bede, Kakmara, Mal, Patua, Baiti, Bajikar and some others for ages. They have spread from one region to another through a mobile lifestyle and livelihood to various rural areas and so did the Hapu Gaan. Though it’s fading from the mainstream, its echoes still linger in hearts and the huts of rural Birbhum, Bankura, Barddhaman and Murshidabad.
Origin: Rooted in the Rural Soil
No one knows exactly when Hapu Gaan began, but it is believed that the Hapu Gaan was first introduced by the Bajikar community of the Shital village living in the Lavpur region of Birbhum. Some scholars argue when nomadic groups like Kakmara began to settle down and chose their profession to sell some daily essentials, this was their calling to attract the consumers, while another group of scholars suggest that Hapu Gaan was associated with the selling of medicinal products by nomadic groups like Bede.
The word ‘Hapu’ can be broken down into two parts; ‘Ha’ and ‘Pu’. Etymologically ‘Ha’ means ‘Hahakar’ (Wail) or ‘Ha-ghare’ (the one who has no house) and ‘Pu’ means ‘Purnata’ or fulfilment. Hapu is pronounced differently in different regions, for instance ‘Habu’ or ‘Hafu’. While the pronunciation is different, but the song carries the same soul, the heartfelt scream against the oppression over them.
How It Flourished: From Attractive Calls to Festival Favourites
At its heart, Hapu Gaan is a people’s art. It didn’t need a stage, a spotlight, or a formal invitation. What it needed, was basically, a crowd.
These musics were especially popular in village fairs or after-harvest celebrations. One singer, or sometimes groups of two, four or six peoples, would stand at the center and start their music with a fast pace. The themes could be spiritual or social, light-hearted or philosophical, even awareness against various social inconsistencies, injustice, injustice, and superstitions. There are various stories of family life and stories of extramarital affairs, and there is also primitive humour. Basically, the attempt to express the thoughts and feelings of the marginalized class through these songs, is evident.
Notably, these songs generally do not worship any specific gods or goddesses as well as they are not associated with any particular religious festival. But sometimes to depict love, symbolism of ‘Radha-Krishna’ and ‘Ram-Sita’, the two divine couples, are used.
Generally, the Hapu performers made their bits using their armpit and hands with certain gestures. Use of instruments was less. But with time, minimal instruments like Ghungru, Khol, Dubki, Mridanga were begun to be used.
However, eminent folk researcher Dr. Asutosh Bhattacharya noted down, “Traditionally two people perform this song. One holds a stick and the another plays an instrument, supposedly Madira or Gopiyantra. The stick holder sings the song, and the another one gives chorus (dhua) to him. The technique of singing is somewhat strange. The performer sings a couplet and then beats himself with the stick, to keep the bit of the song. For continuous beating, the performer often carries bruise wounds in their back.”
What kept the tradition going for generations wasn’t just the entertainment—it was the shared ownership. Everyone, from the performers to the listeners, felt part of the song. One didn’t just watch Hapu Gaan. They felt it.
Two Faces of Hapu Gaan: Song and the Play
Hapu Gaan is divided into two main styles—both rich in their own flavour, yet distinctly different.
4.1 Performing the Song
This is what could be termed as ‘Hapu Gaan’. It comprises the song only, where the words of the song are tuned in a fast pace, somewhat similar to the Western rap style. Over classical Indian music, regional influences are evident here. The use of the word ‘lo’, a specific expression is found regularly. A call ‘Hapu-u-u-u’ or ‘Hafu-u-u-u’ is common to begin the song, or to be used in the middle. Particular breathing techniques are also inherently connected with Hapu Gaan.
4.2 Hapu Khela
In some parts of Murshidabad and Barddhaman districts, Hapu Gaan is called Hapu Khela. Before starting Hapu Gaan, or sometimes while continuing the song, some people perform various physical gestures, comprising severe beating of themselves as well as gestures with armpits. This is Hapu Khela. People of marginalized classes mainly accept it as entertainment.
Hapu in Popular Culture: A Hidden Story
Hapu Gaan has largely remained on the edges of pop culture. The physical gestures were interpreted as vulgar to the mainstream society and so the limelight was always far away from this folk song.
Some texts like ‘Jadukari’ of Tarashankar Bandyopadhayay, or films like ‘Bakita Byaktigoto’ mentioned Hapu Gaan, but in terms of ‘popular culture’, Hapu Gaan never found its own discourse.
But recently, with the popular Bengali film ‘Bohurupi’, one Hapu Gaan performer Nanichora Das Baul, became a notable personality to feature the tradition of Hapu Gaan into the mainstream society. His co-composed song ‘Dakatiya Banshi’ became a sensation into younger generations. But the most sarcastic fact is, the maximum audience is unaware about the original genre of this popular song and they love to simplify it as a mere ‘folk song’.
Current Status: A Dying Art Form
Like many traditional art forms, Hapu Gaan faces an uncertain future, as younger generations leave for cities, and elders who knew the songs by heart, grow older or pass on.
Many of the passionate Hapu performers are gone. Those who remain often struggle without financial support, proper recognition, or platforms to perform.
Also, the societal structure has been changed largely. Previously, Hapu Gaan was associated with the leisure time of the people, who paid their entertainers in terms of rice, pulses, cloths or some amount of money. But fast forward today, no one has interest to listen to the voices of the so-called lower class people and the imagery of their everyday life. The typical mainstream mentality is also a significant issue. The notion of ‘vulgarity’ made a distance between this tradition of folk song and the mainstream society.
Even, there no significant efforts had been taken to document these age-old songs or to support the performers. Folk music festivals often forget to include this distinct art form, to attract the popular demands of the audience.
As a result, Hapu Gaan seems to be falling victim to unspeakable sorrow, poverty and neglect.
Conclusion: Keeping the Breath Alive
In a world buzzing with synthetic sound, auto-tuned voices, and algorithm-curated playlists, Hapu Gaan is a reminder of what music once was—and still can be: personal, powerful, and rooted in real life.
It’s the song of nomadic groups, that featured love, philosophy, family affairs and so many other aspects of life. Yes, it’s the breath—“Hapu-u-u-u”—that turns silence into story.
Let children hear it. Let stages, big and small, welcome its performers.
Because in every ‘Hapu-u-u-u’, there’s a breath of Bengal’s soul—and that soul deserves to be heard.
REFERENCES:
JOURNAL ARTICLE
1. Howladar, Dr. Priyanka. “Hapu Gaan: A Nomadic Folk Music”. International Journal of Creative Research Thoughts 13, no. 6 (2025): b559-b564.
WEB PAGE
1. Bhalobhasa. Chakraborty, Arijit. “Hapu: Koutuk Kothay Biddho Kore Somajke”. Last modified February 3, 2022. https://bhalobhasa.com/hapu-the-popular-folk-art-form-of-rural-bengal/
2. Lokfolk. “Hapu Gaan”. Last modified February 2, 2022. https://lokfolk.blogspot.com/2012/02/hapu-gaan.html?m=1
3. Stay Curious. Ahmed, Rifat. “Hapu Gaan”. Last modified August 10, 2020. https://bangla.staycurioussis.com/%E0%A6%B9%E0%A6%BE%E0%A6%AA%E0%A7%81-%E0%A6%97%E0%A6%BE%E0%A6%A8/