Rhythm of Rajasthan

Music of Rajasthan originates from Rajasthan, one of the states of India and home to several important centers of Indian musical development, including Udaipur, Jodhpur and Jaipur. The region's music shares similarities both with nearby areas of India and the other side of the border, in the Pakistani province of Sindh.

Instruments of Rajasthani Folk:

  

Algoza

 

Kamayacha

 

Karanabilnada

Kartal

    

     Morchang

Ravanhattha

Sarangi

 

 

 

Dhol

Ocean of Melody: A documentary on Indian Music

Ocean of Melody is a two-part documentary that delves into the key aspects that construct the framework of Indian classical music vis a vis its two forms: Hindustani and Carnatic. The Film explores the fluidity that these forms of music allow within a well-defined structure – one that is derived intrinsically from constant improvisations by the performer. Introducing the practical aspects of music like the swara and how their interplay over time created structures and formats in the form of Ragas, the narrative goes on to elaborate on the various presentation forms or GayanShailis, examine the relationship shared by the master and the disciple in the backdrop of what is known as the age old guru shishyaparampara or baniand also understand the emotions associated with music as an art form - a certain luminosity and peace, stillness, beauty and reverence. The essence behind the elevation to a spiritual realm that exponents often find themselves in after years of practice and penance- a tenet that keeps the form pure and timeless is also explored.

Ocean of Melody-Part I

Ocean of Melody-Part II 

Ustad Bismillah Khan: Shehnai ke Sehenshah

Bismillah Khan (Urdu: استاد بسم اللہ خان صاحب‎; 21 March 1913 – 21 August 2006), often referred to by the honorific title Ustad, was an Indian musician credited with popularising the shehnai, a subcontinental wind instrument of the oboe class. While the shehnai had long held importance as a folk instrument played primarily during traditional ceremonies, Ustad ji is credited with elevating its status and bringing it to the concert stage.  He was awarded India’s highest civilian honour, the Bharat Ratna, in 2001, becoming the Third classical musician after M. S. Subbulakshmi and Ravi Shankar to be accorded this distinction.

Bismillah Khan was perhaps single-handedly responsible for making the shehnai a famous classical instrument. He brought the shehnai to the center stage of Indian music with his concert in the Calcutta All India Music Conference in 1937. He was credited with having almost monopoly over the instrument as he and the shehnai are almost synonyms.

Ustad ji is one of the finest musicians in post-independent Indian classical music and one of the best examples of Hindu-Muslim unity in India. He played the shehnai to audiences across the world. He was known to be so devoted to his art form that he referred to shehnai as his begum (wife in Urdu) after his wife died. On his death, as an honour, his shehnai was buried with him. He was known for his vision of spreading peace and love through music. 
“ Even if the world ends, the music will still survive. ” 
 “ Music has no caste. ”

Ustad ji lived in the holy city of Benaras, situated on the banks of the river Ganges..A documentary 'Bismillah and Banaras' traces the symbiotic relationship between the Shehnai maestro Bismillah Khan and the city of Benaras. As a young boy, Bismillah would play the Shehnai everyday at the Kashi Vishwanath temple - a tradition that he continued over the years. In his travels across the world, Bismillah remarks that his eyes are capable of seeing and imagining only Benaras. Bismillah Khan was awarded the Bharat Ratna award for his contribution to the world of Indian classical music and for raising the status of the Shehnai to the level of a concert instrument. This film is a tribute to the sheer genius of a musician and also his love for the city of Benaras. 

Joy of Punjab 1 : Balle Balle...!!!

Jugni is an age-old narrative device used in Punjabi folk music and sung at Punjabi weddings in India, Pakistan, US, Canada, Australia and UK. The word literally means 'Female Firefly', in folk music it stands in for the poet-writer who uses Jugni as an innocent observer to make incisive, often humorous, sometimes sad but always touching observations. In spiritual poetry Jugni means the spirit of life, or essence of life. The late Legendary Alam Lohar (Punjab, Pakistan) and late Singer & Humorist Asa Singh Mastana (Punjab, India) are credited with popularizing this poetry from early Sufi spiritual writings.

Balle Balle (Punjabi: ਬੱਲੇ ਬੱਲੇ, Hindi: बल्ले बल्ले, Urdu: بلّے بلّے‎) is a phrase used in many Punjabi songs to depict a feeling of happiness. It does not have an exact translation and would be used in the same way as the English expressions, "Hooray!!" or "Hurrah!". Balle Balle is a Punjabi expression used while enjoying things. It is an expression of joy.

Malhar: Barkha ritu aaiyi. . .

Malhar is an old raga in Indian classical music. Malhar is associated with the atmosphere of torrential rains. Besides the basic Shuddha Malhar, which was the original Malhar, there are several Malhar-related ragas that use the Malhar signature phrase m (m)R (m)R P, including Miyan Malhar, Ramdasi Malhar, Gaud Malhar, Sur Malhar, Des Malhar, Nat Malhar, and Meera ki Malhar. According to legend, raga Malhar is so powerful that when sung, it can induce rainfall. It is possible that the rainfall that the legends speak of is in fact metaphorical of the state of mind brought about by the recital of the raga.

There are many written accounts of Raga Malhar. Many great artists of the medieval period and much earlier periods used to sing this raga. Tansen, Baiju Bawra, Baba Ramdas, Nayak Charju, Miyan Bakhshu, Tantarang, Tanras Khan, Bilas Khan (son of Tansen), Hammer Sen, Surat Sen, and Meera are among the singers who are said to have been capable of starting rains using various kinds of Raga Malhar.

According to a legend, once the Mughal emperor Akbar asked his court musician Tansen to sing Raga Deepak, the raga of fire. The effect was such that all the lamps in the courtyard lit up themselves, and Tansen's body became so hot that he had to sit in the nearby river to cool himself. However, the river began to boil, and it became apparent that Tansen would soon boil to death. He set out on a search to find someone who could sing Raga Malhar to cure him. In due course he reached Vadnagar, in Gujarat, where he found two sisters, Tana and Riri, whom he asked for help. They agreed to sing Raga Malhar to cure him. When they sang the Raga, rains came down in torrents, which cooled Tansen's body immediately.

Bharatnatyam: Dance of the Divine

Bharata Natyam (Tamil: பரதநாட்டியம்) also spelled Bharatanatyam, is a classical Indian dance form that originated in the temples of Tamil Nadu. This dance form denotes various 19th- and 20th-century reconstructions of Sadir, the art of temple dancers called Devadasis. It was described in the treatise Natya Shastra by Bharata around the beginning of the common era. Bharata Natyam is known for its grace, purity, tenderness, and sculpturesque poses. Lord Shiva is considered the God of this dance form. Today, it is one of the most popular and widely performed dance styles and is practiced by male and female dancers all over the world. Bharata Natyam is considered to be a fire-dance — the mystic manifestation of the metaphysical element of fire in the human body. It is one of the five major styles (one for each element) that include Odissi (element of water), Kuchipudi (element of earth), Mohiniattam (element of air) and Kathakali (element of sky or aether). The movements of an authentic Bharata Natyam dancer resemble the movements of a dancing flame. Contemporary Bharata Natyam is rarely practiced as Natya Yoga, a sacred meditational tradition, except by a few orthodox schools.

Bharata Natyam is the manifestation of the ancient idea of the celebration of the eternal universe through the celebration of the beauty of the material body. Some Bharata Natyam techniques can be traced back to the Kaisiki style. The Natya(I.44) reads, "... I have seen the Kaisiki style during the dance of the blue-throated lord (Shiva). It consists of elaborate gestures (Mridu Angaharas, movements of limbs), sentiments (Rasas), emotional states (Bhavas). Actions (Kriyas) are its soul. The costume should be charmingly beautiful and love (Sringara) is its foundation. It cannot be adequately portrayed by men. Except for women, none can practise it properly".

Apart from the Kaisikii style, Bharata Natyam imbibed some others. These reflect other yogis of spiritual revelations, such as the vision of two sages, Vyagrapada and Pathanjali in Chidambaram. In Hindu mythology the whole universe is the dance of the Supreme Dancer, Nataraja, a name for Lord Shiva, the Hindu ascetic yogi and divine purveyor of destruction of evil. The symbolism of the dance of Shiva (in the form of Nataraja) is represented by the attitude called "Ananda Tandavam". 

Also known as the cosmic dancer, he is here the embodiment and manifestation of the eternal energy in five activities (panch-kriya): creation, pouring forth, unfolding; maintenance or duration (sthiti); destruction or taking back (smhara); concealing, veiling, hiding the transcendental essence behind the garb of apparitions (tirobhava); and favoring, bestowing grace through a manifestation that accepts the devotee (anugraha). Shiva is depicted dancing on the dwarfish body of the demon Apasmara purusa, "forgetfulness, loss of memory" who represents ignorance, the destruction of which brings enlightenment, true wisdom, and release from the bondage of existences.

                             Video१ : About Bharatnatyam

                            Video२  : About Bharatnatyam

Paran: Rhythemic phrase recital

Bols / Phrases receited with the rhythm of Pakhawaj/Tabla (a percussion instrument). Functionally, it is a heavy assertion on the part of the tabla player in the classical styles. The bol is invariably open strokes from the pakhawaj tradition. Although the origin of the term paran is obscure, one common belief is that it is a corruption of "parhant". Parhant is the recitation of bols in a kathak dance recital. This could imply that the paran was a composition whose bols were so beautiful that it was suitable for a special recitation. It is certain that the bols are the defining criterion of paran, with function acting as a strong second. The bols invariable reflect open, resonant strokes derived from the pakhawaj tradition. Bols such as TiTaKaTaGa, DiGeNa, DhuMaKiTaTaKa, or DhaGeTiTa are most common. Functionally, the paran is an aggressive display of virtuosity on the part of the tabla player. It may be used in kathak dance, tabla solos and whenever the "trading off" places control in the hands of the tabla player. This form is not found in light or folk genre and is inappropriate for general accompaniment. It can be of many kinds, e.g. Bol Paran, Jati Paran, Ghungru (bells) Paran, Pakshi (bird) Paran. Also Ganesh Paran, Kali Paran, Lakhsmi Paran (by the name of the Hindu Gods and Goddesses) etc. 

Pandit Kishan Maharaj (Hindi: किशन महाराज) (September 3, 1923 – May 4, 2008) was an Indian tabla player who belonged to theBenares gharana of Hindustani classical music. Maharaj ji was honored by the Padma Shri in 1973 and the Padma Vibhushan in 2002. Here is a Ganesh paran by Maharaj ji.

Here is another paran from a popular Bollywood movie.

Raag Basant: The joy of 'Spring'

Raag Basant is Pali/Punjabi word for "spring". The word is much older than the Sikh religion and any usage of the word in relation to melody or Sikh tradition is a later rendition of the word. 

During spring season of the year Basant may be performed at any time of the day or night. Otherwise, it is reserved for the time between 9 p.m. and midnight. The Ragmalagives Basant as a putra (son) of Hindol, also a spring raga. Today it belongs to the Purvi thata. The only variant noted in the Holy Book is Basant-Hindol. Basant is a very old raga dating from the 8th century. 

Guru Nanak, Guru Amar Das, Guru Ram Das, Guru Arjan and Guru Tegh Bahadar composed Shabads in this raga.

Performed in slow tempo, this gentle melody depicts quiet joy. The descending scale is usually found at the beginning of a composition with the ascending form follows later.

Tarana & Tillana : Interplay of syllables and rhythm

Tarana (Urdu: ترانہ‎, Hindi: तराना) is a type of composition in Hindustani classical vocal music in which certain words and syllables (e.g. "odani", "todani", "tadeem" and "yalali") based on Persian and Arabic phonemes are rendered at a medium (madhya) or fast (drut) pace (laya). It was invented by Amir Khusro (1253-1325 CE), and is similar to the Qalbana form of Sufi poetry. In modern times the tarana is most commonly associated with the singer Amir Khan, who helped popularize it and researched its origins and the syllables used.

Tillana (Sanskrit: तिल्लान, Meaning: engrossed) is a rhythmic piece in Carnatic music that is generally performed at the end of a concert and widely used in dance performances. A Tillana uses tala-like phrases in the pallavi and anupallavi, and lyrics in the charanam. Tillana originated from the ancient 'KaiVara prabandha'. The kaivAra prabandha is a variety of the prabhandha that existed in the medieval period. In this, the jatIs (or solkaTTu) figured in the mAtu or the concluding session. The prabandha begins and ends with the pAtha. This aspect of the prabandhas led the composers of the later period to evolve a new form called the tillAnA. Tillana thus came to be composed by classical composers who lived in the 18th century.

Music of Kashmir

Traditionally the music composed by ethnic Kashmiris has a wide range of musical influences in composition. Due to Kashmir's close proximity to Central Asia, Eastern Asia and Southern Asia, a unique blend of music has evolved encompassing the music of the three regions. But, overall, Kashmiri Valley music is closer to Central Asian music, using traditional Central Asian instruments and musical scales.
Common instruments used in Kashniri

music are Tumbaknari, Sarang (Sarangi) and Kashmiri Sarang, Gagar, Nagda, Dhola, Shankh, Swarnai, Khasya (Khos-cup), Thaluz, Rabab, Noet, Nai (Flute), Santoor, Saaz-i-Kashmir, Setar/Sehtar, Wasul/Dokra/Tabla.

Youtube is flooded with Kashmir videos, but sadly of terrorist and political activities. But sound of bombs and bullets was not the music there. One of the most joyous music in the world is that of Kashmir. There are very few videos of Kashmiri music. Here are some of them which covers few of the colors, if not all, of the Kashmiri music.

Sohar: Welcome song for the child

Religiosity is the pivot around which the music and amusements of the village folk of Bihar revolve and Sohar is one among them.

It is the song sung at the birth of a child. As has been common in our society - the birth of a child is a time for celebration and the Sohar is popular in the entire Hindi belt.
In the Bhojpuri dialect - Sohal - means feeling good. The same form has different names in different regions such as Somar, Sohla, Sohilo or Sogar.

Here is an excellent master piece "SOHAR" by Pandit Chhannulal Mishra (Hindi: पंडित छन्नूलाल मिश्रा) (born 3 August 1936), who is a Hindustani classical singer from Banaras, a noted exponent of the Kirana gharana of the Hindustani classical music.

The Bauls: The mystic of Bengal

The Bauls are mystic minstrels living in rural Bangladesh and West Bengal, India. The Baul movement, at its peak in the nineteenth and early twentieth centuries, has now regained popularity among the rural population of Bangladesh. Their music and way of life have influenced a large segment of Bengali culture, and particularly the compositions of Nobel Prize laureate Rabindranath Tagore (Rabindra Sangeet).

Bauls live either near a village or travel from place to place and earn their living from singing to the accompaniment of the ektara, the lute dotara, a simple one-stringed instrument, and a drum called dubki. Bauls belong to an unorthodox devotional tradition, influenced by Hinduism, Buddhism, Bengali, Vasinavism and Sufi Islam, yet distinctly different from them. Bauls neither identify with any organized religion nor with the caste system, special deities, temples or sacred places. Their emphasis lies on the importance of a persons physical body as the place where God resides. Bauls are admired for this freedom from convention as well as their music and poetry. 

Baul poetry, music, song and dance are devoted to finding humankinds relationship to God, and to achieving spiritual liberation. Their devotional songs can be traced back to the fifteenth century when they first appeared in Bengali literature.
Baul music represents a particular type of folk song, carrying influences of Hindu bhakti movements as well as the shuphi, a form of Sufi song. Songs are also used by the spiritual leader to instruct disciples in Baul philosophy, and are transmitted orally. The language of the songs is continuously modernized thus endowing it with contemporary relevance.

The preservation of the Baul songs and the general context in which they are performed depend mainly on the social and economic situation of their practitioners, the Bauls, who have always been a relatively marginalized group. Moreover, their situation has worsened in recent decades due to the general impoverishment of rural Bangladesh.

UNESCO: Representative List of the Intangible Cultural Heritage of Humanity - 2008

Abhang: A call to Vitthal

Abhang or abhanga (Marathi: अभंग) is a form of devotional poetry sung in praise of the Hindu god Vitthala, also known as Vithoba. The word "abhang" comes from a for "non-" and bhang for "ending" or "interrupting", in other words, a flawless, continuous process, in this case referring to a poem. By contrast, the devotional songs known as Bhajans focus on the inward journey; abhangs are more exuberant expressions of the communitarian experience.

Abhangs were first sung by the Varkari saints like Namdev, Dnyaneshwar, Eknath and Tukaram in their native language, Marathi. Tukaram was a seventeenth century poet who lived in the town of Dehu, which is located near modern day Pune. He was a popular poet and a leading figure in the Varkari Movement of the time, which sought to put the emphasis back on devotion and love towards God, in contrast to blind obedience of rituals and arcane religious practices.

Kalbelia folk songs and dances of Rajasthan

Songs and dances are an expression of the Kalbelia community's traditional way of life. Once professional snake handlers, Kalbelia today evoke their former occupation in music and dance that is evolving in new and creative ways. Today, women in flowing black skirts dance and swirl, replicating the movements of a serpent, while men accompany them on the ''khanjari'' percussion instrument and the ''poongi,'' a woodwind instrument traditionally played to capture snakes. The dancers wear traditional tattoo designs, jewellery and garments richly embroidered with small mirrors and silver thread. Kalbelia songs disseminate mythological knowledge through stories, while special traditional dances are performed during Holi, the festival of colours. The songs also demonstrate the poetic acumen of the Kalbelia, who are reputed to compose lyrics spontaneously and improvise songs during performances. Transmitted from generation to generation, the songs and dances form part of an oral tradition for which no texts or training manuals exist. Song and dance are a matter of pride for the Kalbelia community, and a marker of their identity at a time when their traditional travelling lifestyle and role in rural society are diminishing. They demonstrate their community's attempt to revitalize its cultural heritage and adapt it to changing socioeconomic conditions.

UNESCO: Representative List of the Intangible Cultural Heritage of Humanity - 2010

Pandavani: The story of Mahabharat

Pandavani, literally means stories of Pandavas, the legendary brothers in Mahabharat, and involves enacting and singing with instrumental accompaniment an ektara or a tambura in one hand and sometimes a kartal in another. Interestingly, as the performance progresses, the tambura becomes prop during performances, sometimes it personify a gada, mace of Arjun, or at times his bow or chariot, while others it becomes the hair of queen Draupadi, allowing to play various character with effective ease and candour.

This form of folk theatre is popular in the Indian state of Chhattisgarh and in the neighbouring areas of Madhya Pradesh, Orissa and Andhra Pradesh. Pandavani can be understood as a part of the tradition of the tellers-of-tales present in every culture or tradition.

Teejan Bai (born 24 April 1956) is an exponent of Pandavani, a traditional performing art form, from Chhattisgarh, in which she enacts tales from the Mahabharata, with musical accompaniments. Her acclaimed performances are of, Draupadi cheerharan, Dushasana Vadh and Mahabharat Yudh, between Bhishma and Arjun.

Kajri: Song of the monsoon

Kajri (Hindi: कजरी), derived from the Hindi word Kajra, or Kohl, is a genre of semi-classical singing, popular in Uttar Pradesh and Bihar. It is often used to describe the longing of a maiden for her lover as the black monsoon cloud come hanging in the summer skies, and the style is notably sung during the rainy season.

It comes in the series of season songs, like Chaiti, Hori and Sawani, and is traditionally sung in the villages and towns of Uttar Pradesh: around Banaras, Mirzapur, Mathura,Allahabad and the Bhojpur regions of Bihar.

Some noted exponents of Kajari are Pandit Channulal Mishra, Shobha Gurtu, Siddheshwari Devi, Girija Devi, Ustad Bismillah Khan and Rajan and Sajan Mishra

Chhau Dance: A tradition from Eastern India

Chhau dance is a tradition from eastern India that enacts episodes from epics including the Mahabharata and Ramayana, local folklore and abstract themes. Its three distinct styles hail from the regions of Seraikella, Purulia and Mayurbhanj, the first two using masks. Chhau dance is intimately connected to regional festivals, notably the spring festival Chaitra Parva. Its origin is traceable to indigenous forms of dance and martial practices. 

Its vocabulary of movement includes mock combat techniques, stylized gaits of birds and animals and movements modelled on the chores of village housewives. Chhau is taught to male dancers from families of traditional artists or from local communities. The dance is performed at night in an open space to traditional and folk melodies, played on the reed pipes ''mohuri'' and ''shehnai.'' 

The reverberating drumbeats of a variety of drums dominate the accompanying music ensemble. Chhau is an integral part of the culture of these communities. It binds together people from different social strata and ethnic background with diverse social practices, beliefs, professions and languages. However, increasing industrialization, economic pressures and new media are leading to a decrease in collective participation with communities becoming disconnected from their roots.

UNESCO: Representative List of the Intangible Cultural Heritage of Humanity - 2010

Mudiyettu: Ritual theatre of Kerala

Mudiyettu is a ritual dance drama from Kerala based on the mythological tale of a battle between the goddess Kali and the demon Darika. It is a community ritual in which the entire village participates. After the summer crops have been harvested, the villagers reach the temple in the early morning on an appointed day. Mudiyettu performers purify themselves through fasting and prayer, then draw a huge image of goddess Kali, called as ''kalam'', on the temple floor with coloured powders, wherein the spirit of the goddess is invoked. This prepares the ground for the lively enactment to follow, in which the divine sage Narada importunes Shiva to contain the demon Darika, who is immune to defeat by mortals. Shiva instead commands that Darika will die at the hand of the goddess Kali. Mudiyettu is performed annually in 'Bhagavati Kavus', the temples of the goddess, in different villages along the rivers Chalakkudy Puzha, Periyar and Moovattupuzha. Mutual cooperation and collective participation of each caste in the ritual instils and strengthens common identity and mutual bonding in the community. Responsibility for its transmission lies with the elders and senior performers, who engage the younger generation as apprentices during the course of the performance. Mudiyettu serves as an important cultural site for transmission of traditional values, ethics, moral codes and aesthetic norms of the community to the next generation, thereby ensuring its continuity and relevance in present times.

UNESCO: Representative List of the Intangible Cultural Heritage of Humanity - 2010

Kutiyattam: The oldest Sanskrit Theatre

Kutiyattam, Sanskrit theatre, which is practised in the province of Kerala, is one of Indias oldest living theatrical traditions. Originating more than 2,000 years ago, Kutiyattam represents a synthesis of Sanskrit classicism and reflects the local traditions of Kerala. In its stylized and codified theatrical language, neta abhinaya (eye expression) and hasta abhinaya (the language of gestures) are prominent. They focus on the thoughts and feelings of the main character.

Actors undergo ten to fifteen years of rigorous training to become fully-fledged performers with sophisticated breathing control and subtle muscle shifts of the face and body. The actors art lies in elaborating a situation or episode in all its detail. Therefore, a single act may take days to perform and a complete performance may last up to 40 days.
Kutiyattam is traditionally performed in theatres called Kuttampalams, which are located in Hindu temples. Access to performances was originally restricted owing to their sacred nature, but the plays have progressively opened up to larger audiences. Yet the actors role retains a sacred dimension, as attested by purification rituals and the placing of an oil lamp on stage during the performance symbolizing a divine presence. The male actors hand down to their trainees detailed performance manuals, which, until recent times, remained the exclusive and secret property of selected families. 

With the collapse of patronage along with the feudal order in the nineteenth century, the families who held the secrets to the acting techniques experienced serious difficulties. After a revival in the early twentieth century, Kutiyattam is once again facing a lack of funding, leading to a severe crisis in the profession. In the face of this situation, the different bodies responsible for handing down the tradition have come together to join efforts in order to ensure the continuity of this Sanskrit theatre.

UNESCO: Representative List of the Intangible Cultural Heritage of Humanity - 2008

Raamlila: The theater of God

Raamcharitmanas by Tulsi Das, sacred text devoted to the glory of Rama, is an incomparable compilation and a lot more than a text. It just not present the story of a Tretayug figure's character "Ramacharit" but also relate it to the present world's "manas". Its dramatic folk re-enactment "The Ramlila" is a celebration of victory of truth over evil. Ramlila, literally Rama's play, is a performance of then Ramayana epic in a series of scenes that include song, narration, recital and dialogue. It is performed across northern India during the festival of Dussehra, held each year according to the ritual calendar in autumn. 

Historically it is believed that first Ramlila shows were staged by Megha Bhagat, one of the disciples of Tulsidas in about 1625 AD, though there are some evidence of its existence in some form before the creation of this version as well.

The most representative Ramlilas are those of Ayodhya, Ramnagar at Benares, Vrindavan, Almora, Sattna and Madhubani. This staging of the Ramayana is based on the Ramacharitmanas, The majority of the Ramlilas recount episodes from the Ramacharitmanas through a series of performances lasting ten to twelve days, but some, such as Ramnagar's, may last an entire month. Festivals are organized in hundreds of settlements, towns and villages during the Dussehra festival season celebrating Ramas return from exile. Ramlila recalls the battle between Rama and Ravana and consists of a series of dialogues between gods, sages and the faithful. Ramlilas dramatic force stems from the succession of icons representing the climax of each scene. 

The audience is invited to sing and take part in the narration. The Ramlila brings the whole population together, without distinction of caste, religion or age. All the villagers participate spontaneously, playing roles or taking part in a variety of related activities, such as mask- and costume making, and preparing make-up, effigies and lights. However, the development of mass media, particularly television soap operas, is leading to a reduction in the audience of the Ramlila plays, which are therefore losing their principal role of bringing people and communities together.

UNESCO proclaimed the tradition of Ramlila a Masterpiece of the Oral and Intangible Heritage of Humanity in 2005. Subsequently, Govt. of India and IGNCA produced a two-hour documentary, titled "Ramlila - The traditional performance of Ramayana" for UNESCO, on 'Ramnagar Ramlila', and Ramlila traditions of Avadh, Braj and Madhubani, and that of Ayodhya, which assimilates elements of all three. Another unique Ramlila, is being staged since 1972, at Bakshi Ka Talab, about 20 km from Lucknow, where lead characters like Rama, Lakshman and Hanuman are played by Muslim youths, a clear departure in a region known for communal flare-ups; this four-day Ram Lila starts on the day of Dusshera day, and has also been adapted into a Radio play, 'Us Gaon ki Ram Lila', by Lucknow All India Radio, which won the Communal Harmony Award in 2000.

Dhrupad

 Dhrupad is the oldest surviving form of Indian Classical music and traces its origin to the chanting of vedic hymns and mantras. The nature of Dhrupad music is spiritual. Seeking not to entertain, but to induce feelings of peace and contemplation in the listener. The word Dhrupad is derived from DHRUVA the steadfast evening star that moves through our galaxy and PADA meaning poetry. It is a form of devotional music that traces its origin to the ancient text of Sam Veda. The SAM VEDA was chanted with the help of melody and rhythm called Samgana. Gradually this developed into other vocal style called ‘Chhanda’ and ‘Prabandha’ with introduction of verse and meter. The fusion of these two elements led to the emergence of Dhrupad. 

Though a highly developed classical art with a complex and elaborate grammar and aesthetics, it is also primarily a form of worship, in which offerings are made to the divine through sound or nāda. Dhrupad can be seen at different levels as a meditation, a mantric recitation, a worship , a yoga or tantra based on the knowledge of the nādis and chakras and also purely as a performing art portraying a universe of human emotions. It is mainly a vocal tradition based on the practice of nāda yoga, but is also performed on instruments like the Rudra Veena, the Sursringār and the Pakhawaj. 

The Rudra Veena is an instrument that is rarely heard on the concert stage now although just two centuries ago it reigned sur-preme and was regarded as the king of all instruments. It has a hollow tubular body called the dandi on which are placed 24 frets usually glued to the tube with beewax and resin although some players also use frets tied to the dandi as in the sitar. There are four main playing strings and three to four drone strings. Attached to the tubular dandi are two hollow resonators made of dried and seasoned pumpkins. Traditionally the veena was played with the player sitting in the vajrasana posture with his legs folded under him and one of the two gourds placed on the left shoulder.

The Pakhawaj is a two-headed percussion instrument that is primarily used to accompany Dhrupad music. The body is barrel shaped and is made of heavy wood. Both its open ends are covered with animal-hide drum heads. The heads are attached to the body by leather cords. These cords are also used to maintain tension and to tune the drum to various pitches. The right head is coated with a paste, which contains iron and the left head is coated temporarily with wet wheat flooor only while playing. This makes the sound of pakhawaj deeper and resonanat.

For the past five centuries Dhrupad has mainly thrived under the patronage of Mughal and Rajput kings. The Dhrupad singers Zākiruddin Khān, Allābande Khān, Ziāuddin Khān and NasiruddinKhān were the foremost Dhrupad singers in the beginning of the twentieth century. The descendants of Zakiruddin Khan and Allabande Khan adopted the name of the genre (The Ḍāgar Bānī of Dhrupad) as their family name and acquired renown as the Dagar brothers (the Dagar clan traces its lineage to Swami Haridas, the guru of Tansen). They kept this art alive in the difficult period after 1947 when it lost the patronage of the royal courts. 

Here are some popular Dhrupad songs 

1) Vocal by Dagar Brothers;

2) Vocal by Gundecha Brothers;

3) Ruddar Veena by Ustad Bahauddin Dagar;

4) Pakhawaj by Pandit Bhawani Shankar;

5) A talk about the development of dhrupad by Bahauddin Dagar.

For further information please visit: http://dhrupad.org/about/  &   http://www.dhrupad.info/

Vedic Chanting

The Vedas embody one of the worlds oldest surviving cultural traditions. The traditions of Vedic chanting are considered the oldest unbroken oral tradition in existence and represents the first ever music/songs, composed and sung by mankind. UNESCO proclaimed The Tradition of Vedic chanting a Masterpiece of the Oral and Intangible Heritage of Humanity on November 7, 2003.

The Vedas comprise a vast corpus of Sanskrit poetry, philosophical dialogue, myth, and ritual incantations developed and composed by Aryans over 3,500 years ago. Regarded as the primary source of knowledge and the sacred foundation of the religion, the Vedic heritage embraces a multitude of texts and interpretations collected in four Vedas, commonly referred to as books of knowledge even though they have been transmitted orally.

The Rig Veda is an anthology of sacred hymns;
The Sama Veda features musical arrangements of hymns from the Rig Veda and others;
The Yajur Veda abounds in prayers and sacrificial formulae used by priests; & The Atharna Veda includes incantations and spells.

The Vedas also offer insight into the history of Hinduism and the early development of several artistic, scientific and philosophical concepts, such as the concept of zero.
Expressed in the Vedic language, which is derived from classical Sanskrit, the verses of the Vedas were traditionally chanted during sacred rituals and recited daily in Vedic communities.

The value of this tradition lies not only in the rich content of its oral literature but also in the ingenious techniques employed by the Brahmin priests in preserving the texts intact over thousands of years. To ensure that the sound of each word remains unaltered, practitioners are taught from childhood complex recitation techniques that are based on tonal accents, a unique manner of pronouncing each letter and specific speech combinations.

Although the Vedas continue to play an important role in contemporary Indian life, only thirteen of the over one thousand Vedic recitation branches have survived. Moreover, four noted schools in Maharashtra (central India), Kerala and Karnataka (southern India) and Orissa (eastern India) are considered under imminent threat.