Allegations of on-stage interference and online intimidation involving women musicians have expanded beyond an earlier dispute, with a second performer detailing an incident at a public folk festival in West Bengal that she says crossed from criticism into coercion. The account has intensified scrutiny of how social media campaigns and live-event disruptions are shaping artistic expression, particularly when repertoire touches on faith, caste or identity.Folk singer Madhubanti Mukhopadhyay said a man interrupted her performance at Lalon Utsav in Krishnaganj late on Sunday, climbed onto the stage, grabbed her microphone and announced that songs framed by caste or religion would not be permitted. Mukhopadhyay said the disruption occurred after she sang “Tomra Kunja Sajao Go”, a composition associated with the repertoire of the revered Baul composer Shah Abdul Karim. She described the intervention as intimidating and said it halted the performance while organisers and volunteers moved to restore order.
The singer’s account follows public discussion sparked days earlier by singer-songwriter Lagnajita Chakraborty, who alleged harassment linked to her choice of song. Together, the episodes have prompted a wider conversation among artists, festival organisers and cultural scholars about boundaries between critique and intimidation, and about the vulnerability of performers when ideological disputes spill into live venues.
Mukhopadhyay said the festival was designed to honour the pluralist ethos associated with Lalon Fakir’s tradition, which has long challenged rigid religious identities through music and verse. She added that the interruption contradicted the spirit of the gathering and left her shaken. Organisers, she said, later apologised and assured her that the programme would continue without further disruption.
Accounts from attendees indicated that the man’s objection was delivered without prior warning and that security protocols were limited, a common feature at community-funded folk events. Several musicians present expressed concern that spontaneous policing of content, especially when framed in absolutist terms, risks silencing a repertoire rooted in syncretism and social critique.
Cultural commentators note that folk music in Bengal has historically served as a bridge across communities, often invoking spiritual figures from multiple traditions. Attempts to categorise such songs narrowly, they argue, misunderstand the genre’s lineage. The song cited by Mukhopadhyay is widely performed across borders and is not typically framed as exclusionary.
The controversy has also reignited debate about the role of social media in amplifying confrontations. Artists say online campaigns can quickly migrate offline, emboldening individuals to enforce personal interpretations in public spaces. While criticism of artistic choices is part of cultural discourse, performers and advocates emphasise that physical interference crosses a line, raising safety concerns and chilling participation, particularly for women.
Festival organisers across the region have begun reviewing crowd management practices, according to people involved in programming. Some are considering clearer stage access controls and pre-event briefings to volunteers, while others are weighing public statements affirming artistic freedom within the law. Legal experts point out that unauthorised stage intrusion can constitute a public order offence, irrespective of the message conveyed.
The incidents have drawn attention to a broader pattern of pressure faced by performers whose work engages with social themes. Musicians describe a narrowing of acceptable expression, driven by polarised debates that leave little room for the ambiguities central to folk traditions. At the same time, they caution against conflating audience disagreement with harassment, stressing that peaceful dissent and dialogue remain vital.