India's is an amazing land of colors, cultures, arts, music, songs and knowledge. It is impossible to make an exhaustive and inclusive list of Her art forms.
The intricate classical music with its artistic & spiritual beauty has divine powers. On the other hand, the simplicity of the folk songs, independent of languages, has intense intoxication.
This blog is intended to introduce various classical and folk art-forms of India to evoke love and liking for this music.
The Langha (Rajasthani: लंघा (Devanagari) لنگھا (Perso-Arabic)) are a Muslim community found in the states of Gujarat and Rajasthan. The Langha and related Manganiar are both
communities of folk musicians, and have two sub-divisions, the Sonia Langha and Sarengia Langha. These sub-divisions are based on the use of musical instruments used, the Sonia Langha play the shanai (a type of piped instrument) at wedding ceremonies, and the Sarengia play the sarangee. The two groups are endogamous, and are further divided into clans.
According to their traditions, they were Jaat, Rajputs, whose ancestor converted to Islam. They are said to have originated in Sindh, and settled in the village of Baranwa inBarmer
District. The community sing, play music and entertain the Sindhi-Sipahi, a community of Muslim Rajputs, who act as their jajmans (patrons). They are found in the districts of Barmer,Jaisalmer and Jodhpur, and speak Marwari.
The community are endogamous and practice
clan exogamy. Their main clans are Khaltera, Pannu, Janjarika, Kalrika and Toarika. At times of birth, marriage or any family festivity of their Sindhi-Sipahi patrons, the Langha musicians are in attendance to evoke the right mood with songs of the desert and many specially composed songs to praise the patron and his family. During the last fifteen years, many Langha have become part of the entertainment industry, and have toured the world as part of the “Festival of India” tours organized by the Indian government.
In Gujarat, the Langha are found mainly in Kutch, with a few also found in Jamnagar, Bhavnagar, Porbandar and
Junagadh areas of Saurashtra. They speak Kutchi among themselves, and Gujarati with outsiders. They are still mainly involved with the playing musical instruments and singing folk songs. Their patrons belong mainly to the Rajput, Jaat and Sandhai Muslims communities. Like the Rajasthan Langha, the Kutch Langha are divided into clans, the main ones being the Azad, Makhan, Yaria, Hajee, Khavara, Sorothia, Isani, Zeria, Thariani, Dafrani, Ladka, Aliyani and Lalore.
Aslam Khan Langa, Aslam Khan Langa has performed live with A R Rahman and along with his group, was voted as finalist (through wild-card entry) for the popular reality TV show India's Got Talent and with a 2 million pound prize fund, it is very popular.
Haveli Sangeet is a semi classical form of Hindustani classical music sung in Havelis. The essential component is dhrupad. It originated in Uttar Pradesh in North India. It is the daily worship of Lord Krishna.
Haveli was a place where Hindu deity were
installed, due to restrictions on Hindu temples during the Muslim rulers, it was called Haveli Sangeet. Basically, Haveli Sangeet is another name for Hindu temple music practiced by the followers of Vaishnavism of Nathdwara in Rajasthan, Gujrat and considered a part of a rich historical tradition.
Having its origin in Rajasthan and Gujarat, the Haveli music is believed to have an edge over dhrupad (the core of Indian classical music) for the common belief that the music has none other than Lord Krishna himself for an audience. Essentially, a tribute to Krishna, its form includes, devotional renditions like, kirtans, bhajans and bhava nritya, all related to religious cult worship.
Although a mix of classical and folk music, the style is inherently borrowed from the dhrupad and Dhamar. Haveli sangeet is commonly played at the many temples of India like the Radha Vallabh of Vrindaban, Krishna of Nandgaon, Uttar Pradesh and Sri Nathji of Nathdwara, to name a few.
With the passage of time, the haveli sangeet in India lost its importance and is no longer in practice as the general audience tends to take it for granted that all haveli music simply fall under the devotional genre.
In Gujarat, one of the music schools of thought believes that the origin of the Indian classical music has its roots in the haveli sangeet of Vallabha Acharya a pioneer in this genre. The history of Indian classical music has it that the Vaishnavites of Nathdwara, were the ones to uphold this cult founded by Vallabh Acharya.
Nama Japam or Nama Sankeertanam is the repetition or Sankirtana of nama (name) of the Almighty. This is one of the time-tested, easiest ways of Bhakti yoga. The devotee chooses Ishta-deva (Sanskrit iṣṭa-deva(tā), literally "cherished divinity" from iṣṭa "desired, liked, cherished" and devatā "godhead, divinity," or deva "deity") and picks up a name of the Ishta deva to repeatedly chant the name vocally or in mind anytime, anywhere.
Devotees can form a group and do sankeertanam or singing together of name of the Almighty. Bhajans are one way of singing the glories of Almighty, thereby contemplating only on the Almighty.
Nama Japa, Sankeertanam, Bhajans all result only in one thing. Nama sankeertanam, helps the devotees identify themselves with their deity of adoration, ultimately resulting in culmination into Paramatman.
The prevailing situations and surroundings we are in, do not help us to meditate peacefully, do the yogas as enshrined in the spiritual scriptures. Hence Nama Japam is the ultimate, and simplest way of seeing Almighty in us and in everything.
Bhishma considered chanting of the Vishnu sahasranama the best and easiest of all dharmas or the
means to attain relief from all bondage.
Adi Sankaracharya, the Advaita enlightened master, in verse 27 of his hymn, Bhaja Govindam, said that the Gita and Vishnu sahasranama should be chanted and the form of
the Lord of Lakshmi-Narayana should always be meditated on. He also said that the Sahasranama bestowed all noble virtues on those who chanted it. The Almighty has mentioned in Srimad Bhagawad Gita, that He resides in the hearts of those who chant and sing His names.
Of all namas of the Almighty, Rama nama is considered to be ideal for nama japam. sri rama rama rameti rame rame manorame; sahasra nama tat tulyam rama nama varanane
Of all the many avatāra of Vishnu, the maryadha purushothama, Sri Rama's name, had remainined
easy and beautiful source for spiritual enlightenment or moksha. Rama's name is more potent than Rama Himself had been exemplified in many instances of great devotees' lives.
Valmiki, just by repeatedly uttering 'Ma-Ra' (not even Ra-ma), could create the greatest epic Ramayanam. Hanuman, just by doing Rama nama japam could cross seas, fight rakshasas, monsters, carry Sanjeevani parvatham, could save Rama and Lakshmana from Mahiravana, could become Chiranjeevin.
Though the Almighty has thousands of names (sahasranama), Rama nama japam is ideal for
everyone. The name Ra-ma is combination of MaheshwaRA-MAheshwari, denoting one Almighty, who is Ardhanarishvara (Sanskrit: अर्धनारीश्वर, Ardhanārīśvara), who is the single entity of Shiva (Purusha) and Shakthi (Prakriti), one who pervades everything—Antharyami.
Even breathing of all the living beings signify Ra-ma. Purusha (absolute consciousness) / Maheshwa'Ra', initiates the living-beings to use the life force Prakriti (absolute energy) / 'Ma'heshwari. During inhalation and exhalation, both Shiva and Shakthi are in union, or co-exist, so life exists. When we do Rama nama japam, we do Pranayama, or conscious breathing, focussing on 'Ra-ma' (Inhalation/Exhalation), leading to God-realization.
RAMANAMA SANKIRTANAM or chanting the name of Lord Rama is held after the evening arati on all Ekadasi days at all the centres of the Ramakrishna Math and Ramakrishna Mission. Ramanama Sankirtanam is a traditional hymn portraying of the story of Ramayanam through various names of Lord Ramachandra. This sankirtanam was introduced by Swami Brahmanandaji Maharaj, the ‘Spiritual Son’ of Sri Ramakrishna and the first President of the Ramakrishna Order.
Lord Sri Rama is considered the most ideal human being, (ie. ideal son, ideal brother, ideal husband,
and an ideal statesman) who can be of guidance to all human kind. By participating in the Ramanama Sankirtanam, devotees remember all his noble qualities and thus seek to imbibe them in their own lives. Sri Hanuman, who is a constant devotee and companion of Sri Rama is also remembered when Rama is worshiped. Swami Vivekananda wanted the purity, faithfulness, valor, and determination of Mahavira (great hero) Hanuman as an ideal for our youngsters. Hence he wished all should worship Hanuman.
Shyama Sangeet (Bengali: শ্যামা সঙ্গীত ) is a genre of Bengali
devotional songs dedicated to the Hindu goddess Shyama or Kali which is a form of supreme universal mother-goddess Durga or parvati. It is also known as Shaktagiti or Durgastuti.
Shyama Sangeet appeals to the common man because it is a musical representation of the relationship of eternal and sublime love and care between the mother and her child.
in Bengal, it inspired a number of poets to compose poems on Kali. Mukundarāma, known as Kavikaṅkaṇ or 'gem of poets', wrote his chief poem, the epic Chaṇḍī, in 1589. Towards the middle of the 18th century, the poet Ramprasad Sen instilled new life into it and turned it into a distinct genre of Bengali songs. There has been a Bengali movie on Ramprasad Sen.
It is said that, Ramprasad was born into a Tantric family, and showed an inclination towards poetry from an early age. He became a disciple of Krishnananda Agamavagisha, a Tantric scholar and yogi. Ramprasad became well known for his devotional songs, eventually becoming the court poet for the king Krishna Chandra of Nadia.
"Man re –krishi kaaj janona Emon manab-jamin railo pateet
Abad karle pholto sona!"
(Mind mine – would that you knew to farm Such human-acreage lay fallow Tilled, would yield gold!)
Ramprasad was succeeded by number of composers like Kamlakanta Bhattacharya (1772–
1821), Rasikchandra Ray (1820–1893), Ramchandra Datta (1861–1899), and Nilakantha Mukhopadhyaya. In modern times both Rabindranath Tagore and Kazi Nazrul Islam have composed poems of Shyama Sangeet genre.
Nazrul Islam, the rebel bulbul, was a Muslim Kali-bhakta in the syncretic Indian sense, and his words hark back to the first fiery Kali lyricist Ramprasad Sen:
Amar kalo meyer payer talai, dekhe ja alor nachan
Roop dekhe dai book pete Shib, jar hate maran bnachan. . . Kalo meyer andhar kole, shishu rabi-shashi dole Mayer ektukhani rooper jhalak, snighdha biraat neel gagan ... Vishwe Ma-yer roop dharena, Ma amar tai digbasan. .
Shyama Sangeet conceptualizes Goddess Kali as a loving human mother and the singer is longing for The Mother’s love. The songs have become popular not only for its devotional side, but also for its human appeal.
Shayama sangeet become more popular at the time of Sri Ramkrishna Paramahansa, who was an ardent Kali bhakta/devotee, and many of his songs are recorded in the Gospel of Sri Ramakrishna
Ramprasad Sen, Rabindranath Tagore, Girishchandra Ghosh,
and Swami Vivekananda, among others, composed numerous Shyama Sangeet. India's national song, 'Vande Maataram' (Hail to the Mother), whose lyrics were written by Bankimchandra Chatterjee and whose music was composed by Tagore, is first and foremost a hymn to Ma Durga which hails the Indian motherland, "Bharat Mata", as being a form of the supreme goddess Durga.
The vibrant voices of the vocalists, The soul stirring strains of Sitar, Santoor and Sarangi, The thundering sounds of Tabla and Pakhawaj, The cascading notes of Flute & Shehnai, The magic of Mohan Veena, The enchanting notes of Veena & Violin and The harmonious notes of Harmonium all have touched the souls of enlightened audiences at Shree Baba Harivallabh Sangeet Sammelan, year after year.
Started in 1875, Shree Baba Harivallabh Sangeet Sammelan has celebrated the magnificent tradition of Hindustani Classical Music for the last 137 years.
Drawing inspiration from Saint-musician - Baba Harivallabh, who started this Sangeet Sammelan in the memory of his Guru Swami Tulja Giri Ji, the Sangeet Sammelan has provided a platform where distinguished musicians could perform and give the best of their art and where anyone interested - initiated and uninitiated alike, could listen to them, free.
Harivallabh completed 139 Years on 28th December 2014. The Government of India has recognized this festival as one of the National Festivals of Music.
Baba Harivallabh, the founder of this glorious tradition of Sangeet Sammelan was born in the later part of 18th Century in village Bajwara, in District Hoshiarpur (Punjab).
Hori is one of the many forms belonging to the light classical music traditions of Hindustani music is sung on Holi capturing its joyous and playful spirit. In Banaras and Awadh, Holi celebrations would begin on Basant Panchami and continue till Baisakh. For one whole month, people gather and sing Dhamar, set to Deepchandi tala, Ulhara, Faag and many more. “Holi khele raghubira Awadh mein” from the film “Baghban” and the hugely popular “Rang barse” are ulharas which have their roots in Awadh. In the film “Kati Patang”, the Holi song “Aaj na choddenge bas humjoli” has shades of Dhamar. This form begins with a slow tempo but as it progresses it becomes extremely fast. “Holi aayi re kanhai” from “Mother India” is a hori but interestingly has a kajri tune.
Holi at Kashi Viswanath temple (Varanasi) : 1st March 2015 (Rangabhari Ekardashi)
मान्यताओं के अनुरूप काशी में माता पार्वती के प्रथम आगमन पर यह लिखा गया था। रविवार शाम को भगवान शंकर काशी के नाथ काशीविश्वनाथ की चल प्रतिमा को देखकर तब इन लाइनों का मर्म दिखा, जब हर कोई बाबा विश्वनाथ को रंग लगाने को आतुर था।
इसी के साथ ही आज से भोले की नगरी में 6 दिवसीय होली उत्सव की शुरूआत हो गई है। रविवार को काशी विश्वनाथ परिसर में भक्तों ने रंग भरी एकादशी के मौके पर बाबा विश्वनाथ संग होली खेली।
काशी विश्वनाथ मंदिर के प्रमुख अर्चक पंडित श्रीकांत महाराज ने बताया, “फाल्गुन शुक्ल-एकादशी को रंगभरी एकादशी कहा जाता है। इस दिन बाबा विश्वनाथ का विशेष श्रृंगार होता है और काशी में होली का पर्वकाल प्रारंभ हो जाता है।
पौराणिक परम्पराओं और मान्यताओं के मुताबिक रंगभरी एकादशी के दिन ही भगवान शिव माता पार्वती से विवाह के उपरान्त पहली बार अपनी प्रिय काशी नगरी आये थे। इस अवसर पर शिव परिवार की चल प्रतिमायें काशी विश्वनाथ मंदिर में लायी जाती हैं और बाबा श्री काशी विश्वनाथ मंगल वाद्ययंत्रो की ध्वनि के साथ अपनी जनता, भक्त और श्रद्धालुओं का हाल-चाल पूछने एवं आशीर्वाद देने सपरिवार निकलते हैं।
यह पर्व काशी में मां पार्वती के प्रथम स्वागत का भी सूचक है। इस अवसर पर समस्त जनता पर रंग अबीर गुलाल उड़ाकर खुशियां मनायी जाती हैं।”
बाबा विश्वनाथ की इस अदभुत छटा को देखने के लिए विश्वनाथ मंदिर स्थित रेड ज़ोन में लोगों का सैलाब उमड़ पड़ा। भक्तों ने बाबा संग जमकर अबीर गुलाल खेला। इस मौके पर तिलभांडेश्वर मंदिर संघ ने डमरू बजाकर समां ही बांध दिया। ऐसा लग रहा था मानो देवता स्वर्ग से भगवान शंकर का श्रृंगार करने के लिए आतुर है। पूरा मंदिर परिसर हर हर महादेव के नारे से गूंज रहा था।
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