Haryanavi folk songs provide an important space for expressing the everyday experiences of rural women. Among these songs, Jakdi is significant because it brings ordinary domestic experiences, family tensions, humour, emotional struggles and changing social values into folk performance. The relationship between the saas (mother-in-law) and bahu (daughter-in-law) is one of the recurring concerns of these songs. This relationship is often understood simply as a conflict between two women, but Jakdi presents a more complicated picture of gender, authority, labour, generation and social change. This paper examines four Haryanavi Jakdi songs that represent different dimensions of the saas-bahu relationship. The first song presents an open physical quarrel that becomes a public spectacle. The second humorously describes the changing relationship between the bahu, her husband and the saas as the husband’s economic position improves. The third challenges the common accusation against the bahu and focuses on the saas’s criticism of her clothing, mobility, religious activities and cooking. The fourth makes women’s domestic and agricultural labour visible by showing what happens when the bahu is absent from the household. The paper reads these songs through Raymond Williams’s concept of lived culture and James C. Scott’s idea of everyday resistance. It argues that Jakdi transforms ordinary domestic experiences into cultural expression and gives women a space to negotiate authority through humour, complaint, mockery, verbal opposition and performance. At the same time, these songs show that women’s resistance remains closely connected to the family structure within which they live. Thus, Jakdi becomes both a record of women’s everyday lives and a subtle cultural space for questioning gendered power relations.