On the first day of Chhath Mahaparva, Sharda Sinha, the voice synonymous with the four-day festival among the natives of these states like Bihar, Jharkhand and Uttar Pradesh and across the world, fell silent. The 72-year-old singer of Bhojpuri and Maithili folk songs was suffering from multiple myeloma.

He left the world on the day of Nahay-Khaye, marking the beginning of the festival, and his mortal remains were cremated on the banks of the Ganges on the third day, approximately Chhathi, as an offering to Maiya, in whose praise she always sang.

One of the most touching moments shared from her last stay at AIIMS, Delhi, was a video of her on oxygen support, in which she somehow managed to sit upright on a chair for her daily riyaaz. She lost her husband Brijkishore Sinha in September this year, and she decided to sing a heart-wrenching thumri – Saiya Nikas Gaye, Main Na Ladi Thi, Dus Darwaza Band Kiye Thi, Na Jaane Kaun Si Khirki Khuli Thi (Mera Pyaar Gone. I did). Don’t fight him, I closed 10 doors, I wonder which window was left open).

This year too, without any fanfare, Sharda released a song for Chhath from the hospital itself. Aptly titled, Dukhava Mitaye Chhathi Maiya, it was an invocation to the goddess to provide relief from pain.

Sharda was a pioneer of the folk tradition of Bihar, who fiercely protected the richness of Bhojpuri and Maithili languages. His voice connected people to their roots, gave them a sense of pride and was an essential part of their lives.

Affectionately known as the ‘Kokila’ (nightingale) of Bihar, Sharda’s voice was full of emotions. She didn’t just stop at singing folk songs; They revived them by creating a bridge between the past and the present and between ordinary settlements and the world.

Sharda was born in a village in Bihar. From her early years, she was drawn to the rhythms and stories contained in the songs of her homeland. To him, they were oral histories. His renditions of the compositions of poet-saint Maithil poet Kokil Vidyapati firmly established him in the world of folk. His interest in music developed at a time when folk music was largely limited to rural communities, and was viewed as an exotic thing by the mainstream media.

But Sharda felt it was her responsibility to take her people’s music to a wider audience. And, she accomplished it beautifully. At a time when it was a significant achievement for women to step out of the house, she became an extraordinary star and subversive. She dignified the presence of women in the art world and taught everyone that an artist can become an ambassador of a culture, language and a region.

At a time when the art had become commercial and when Bhojpuri songs were touching the heights of vulgarity, she continued to sing her brand of music and managed to attract the audience. He ensured that Bhojpuri songs got the respect they deserved.

Sharda was also known for her wedding songs (wedding Song) Describe the emotional journey of a bride leaving her family and entering a new life. His voice gave contemporary resonance to these traditional songs; Making music has become an intrinsic part of weddings around the world.

Sharda’s repertoire also included work songs and lullabies. He captured the subtle rhythms of rural life. She shared the untold stories of mothers, sisters and daughters in rural India, giving listeners a glimpse into the lives of people who worked quietly, sang softly and loved fiercely.

Sharda also ventured into Hindi and Magahi (also known as Magadhi), further expanding her cultural footprint. He ensured that each song retained its regional essence, refusing to dilute the dialects or rhythms that made these songs unique. She brought raw, unadorned folk sounds to mainstream cinema. His popular film songs include ‘Kahe To Se Sajna’ I loved, From ‘Babylon What You Taught’ Who are we to you? And from ‘wire thinner than electricity’ Gangs of Wasseypur 2.

Sharda remained a daughter of Bihar, loyal to the soil that gave birth to her music and her dreams. His life and career were a testament to the importance of preserving regional identity within the broader Indian cultural framework. In an era where popular trends often overshadow folk music, Sharda Sinha managed to carve out her own unique identity. She was an artist who respected her roots, but wasn’t afraid to embrace new methods of reach, whether it was an Instagram reel or a YouTube release.

Sharda Sinha may be gone, but she has left a legacy in the voices of those who sing her songs, in the rituals performed to her tunes and in the hearts of millions of people who remember her as a symbol of an unbroken cultural continuum. I will remember.