Magahi folk songs are more than inherited melodies—they are living vessels of memory, belief, and cultural symbolism. Rooted in the Magadh region of Bihar, especially in places like Patna and Gaya, and spreading into parts of Jharkhand, these songs are deeply intertwined with daily life. Sung during farming, weddings, or rituals, they merge the sacred with the everyday and preserve traditions through oral performance. These songs are not simply regional art. They function as oral texts transmitting moral values, religious beliefs, and cultural identity. The recurring appearance of mythic figures like *Dharti Mai* or motifs like *Sita’s exile* reflect a worldview that sees the divine in everyday human experience. Folk songs sung during marriage or sowing seasons are imbued with myth. For instance, when women sing lines such as “Dharti Maiya sun le pukar,” they invoke the earth as a goddess—a blend of reverence and practicality. Similarly, references to Sita’s departure in *Gauna* songs turn individual experiences into collective memory, connecting each woman’s life with divine stories. These songs are also sites of resilience. Many contain subtle critiques of patriarchy or hardship, using metaphor to veil their social commentary. In this way, Magahi folk songs reflect not only cultural preservation but also cultural resistance, especially from the voices of women. In conclusion, Magahi folk songs serve as living archives. They document regional belief systems, encode ethical norms, and celebrate the divine in the ordinary. As oral traditions face modern erasure, studying and preserving them becomes essential—not just for academic interest but for cultural continuity.