Six faces of Indian DHOLs: Rhythym of Festivals

Dhak (Bengali Dhol) :

Durga Puja does not assume the festive aura without the maddening beats of the dhak, the large drum that men hang around their necks and play with two thin sticks to infuse the frenzied rhythm into listeners. Those enchanting beats are enough to conjure up the sights and smells of Durga Puja.

                                                                                                 

Dhol-Tasha (Marathi Dhol) : Dhol (which is always accompanied by tasha,cymbals etc.) is an important part of celebrations and temple music in Maharashtra. Dhol is a primary instrument used in Ganesh Festivals.

Punjabi Dhol : It is found in the states of Punjab, Himachal Pradesh, Haryana, and Delhi. It for the elementary beats of almost all celebrations like Lohri. 

Gujarati Dhol : It is used by Gujaratis during celebrations such as Navaratri to accompany garba. Garba are the folk songs which describe the grace of the divine mother.

Assami Dhol : It is widely used in Rongali Bihu (Bohag Bihu), the most beloved festival of the Assamese people. Rongali Bihu is celebrated in the mid of April every year. Assamese people consider dhol to be a devo badyo or instrument of god, and that it was brought to Earth by the Pandavas.

Dholak, Pakhawaj & Mridangam :  They are mainly classical, semi-classical and folk instruments common in most of the parts India. Dholak lack the exact tuning and playing techniques like that of the mridangam or the pakhawaj. Dholak is widely used for bhajan and kirtan like during Ramcharitmanas path.

Veenai Ekantham: Lord listening to Veena

The Ekantham Veena Seva is a unique ritual,  one of its kind, 900 year old tradition, initiated by Ramanujacharya, where Veena is played for Lord Ranganatha at Srirangam. This is the only Divya Desam where the Lord is woken up and put to sleep by the sweet Veena Recital.

Ramanujacharya, laid down specific processes to be followed in each area

of service at the temple. He also ensured that people from different walks of life participated in the temple routine. Ramanuja found reference to the Veena in several pasurams of the Alvaars. He wanted Veena recital to form an integral part of the daily routine at the Srirangam temple, therefore he gave it the most sacred and satisfying role- that of both waking up the Lord as well as putting him to sleep.


Every morning at around 05:15am, for about 30minutes, the

descendents of the Sathya Kootam clan, now headed by 75 year old Veena G. Rangarajan, the retired Vice Principal of National College Trichy, present, through their Veena recital, Thondaripodi Alvaar’s 10 beautiful verses called Thirupalli Yeluchi - to wake up Lord Ranganatha from his sleep. 

It is believed that all the Divya Desam Lords spend the night here at Srirangam and hence this Veena recital is equivalent to waking up the Lords at all the Divya Desams. 

Belief is that the other Divya Desam Lords go back to their home town after listening to this beautiful piece of Veena Recital.

Why the veena, one might wonder (source: The Hindu). The sacredness of the veena is evident from Vedic references to it. “The Chandogya upanishad says that whatever is played

on the Veena reaches Parabrahma, and becomes praise of the Supreme One. The Upanishad says Veena music itself is a form of Goddess Mahalakshmi,” says Sanskrit scholar V.S. Karunakarachariar.

There are references to the veena in the Divyaprabandham too. “In verse 15 in Tiruneduntandakam, Tirumangai Azhwar imagines himself to be Parakala Nayaki, and the nayaki pining for the Lord, plays the veena. ‘Solluyarnda Nedu Ceenai’- are the words used in the verse. Peria Vachan Pillai’s commentary on the verse says there is more melody in Parakala Nayaki’s veena than in the yazh and flute, and that lyric and music blend as she plays,” explains Vaishnavite scholar Kidambi Narayanan.


For about 260 days in a year, the Lord wakes up to the strains of the veena and retires for

the night, only after He has heard the veena. During sayanam, even the bell is not sounded. The silence of the night is broken only by the music of the veena. This seems to be in consonance with an Upanishadic prescription. V.S. Karunakarachariar says that according to the Brihaddaranyaka Upanishad, when the veena is played, there should be no other sound. An Upanishadic reference to chamber music!

There are many who come to Srirangam for the unique experience of listening to the veena, even as they worship Lord Ranganatha.

External links: 1) By Sudha Jagannathan

                           2) by Prabhu S.

                           3) The Hindu

Annamācārya: Venkataramanā Govindā. .

Taḷḷapāka Annamācārya (or Annamayya) was a 15th-century saint and is the earliest known Indian musician to compose songs called sankirtanas in praise of the god Venkateswara, a form of Vishnu. As the legend goes, Annamayya, at the age of 16, had a vision of Lord Venkateswara which prompted him to write about 32,000 kirtanas and padams in praise of Lord Venkateswara and his consort Alamelu Manga. He composed devotional padams, keertanas, folk songs, etc. in pure Telugu and Sanskrit. The musical form of

the keertana songs that he composed, which are still popular among Carnatic music concert artists, have strongly influenced the structure of Carnatic music compositions. Annamacharya is remembered for his saintly life, and is honoured as a great devotee of Vishnu by devotees and saintly singers. He is believed to have been the avatar of Nandaka, the sword of Vishnu. He is widely regarded as the Andhra Pada kavitā Pitāmaha(Godfather of Telugu song-writing). A list of some of his snakirtanas can be found here.  Annamacharya is said to have composed as many as 36,000 sankeertanas (songs) on the god Venkateswara, of which only about 12,000 are available today. 

He is also the author of musical treatise called

"Sankirthana lakshanamu". Annamacharya considered his compositions as floral offerings to Venkateswara. In the poems, he praises the deity, describes his love for him, argues and quarrels with the Lord, confesses the devotee's failures and apprehensions, and surrenders himself to Venkateshwara. His songs are classified into the Adhyaatma (spiritual) and Sringaara (romantic) sankeertanas genres. His songs in the "Sringaara" genre worship Venkateswara by describing the romantic adventures of Venkateshwara and his consort Alamelu, while others describe the Bhakti of his devotees.

In his later keertanas, he espouses subjects such as morality, dharma and righteousness. He was one of the first few who opposed the social stigma towards the untouchable castes in

his era, with his sankeertanas explaining that the relationship between God and human is the same irrespective of the latter's color, caste and financial status, in his songs "Brahmaṃ Okkatē Paraḥbrahmamokkatē" and "ē kulajuḍainanēmi evvaḍainanēmi". His prodigious literary career earned him a place among the all-time greats of Telugu literature.

While he enjoyed popularity in his days, his compositions were forgotten for over three centuries. Mentioned in 1849, they were later found engraved on copper plates, hidden for centuries inside the Sri Venkateshwara temple at Tirumala, just opposite the Hundi, concealed in a very small room. An English translation of 150 of these verses was published in 2005.

Tirumala Tirupati Devasthanams has been endeavouring to preserve the rich heritage of his compositions. In the year 1950, The State Government of Andhra Pradesh created a

committee and appointed Dr M Balamuralikrishna as its head. He set music to over 800 compositions of Annamacharya and are still popular among the devotees. He has been the Āsthāna Gāyaka of the Tirumala temple at Tirupati since two decades. He is regarded as a legend in rendering devotional music in classical style, especially the Annamacharya Sankirtanas. He is also an acclaimed poet, singer, and a musicologist

Tyāgarājar: Pancharatna kritis

Kakarla Tyagabrahmam (4 May 1767 – 6 January 1847), also known as Tyāgarājar, was one of the greatest composers of Carnatic music or Indian classical music. He was a prolific composer and highly influential in the development of the classical music tradition. Tyagaraja composed thousands of devotional compositions, most in praise of Lord Rama, many of which remain popular today. Tyāgarāja began his musical training under Sonti Venkata Ramanayya, a music scholar, at an early age. He regarded music as a way to experience God's love. His objective while practicing music was purely devotional, as opposed to focusing on the technicalities of classical music. He also showed a flair for composing music and, in his teens, composed his first song, "Namo Namo Raghavayya", in the Desika Todi ragam and inscribed it on the walls of the house. Sonti Venkataramanayya informed the king of Thanjavur of Tyagaraja's genius. The king sent an invitation, along with many rich gifts, inviting Tyagaraja to attend the royal court. Tyagaraja, however, was not inclined towards a career at the court, and rejected the invitation outright, composing another kriti, Nidhi Chala Sukhama (English: "Does wealth bring happiness?") on this occasion.

Angered at Tyagaraja's rejection of the royal offer, his brother threw the statues of Rama

Tyagaraja used in his prayers into the nearby Kaveri river. Tyagaraja, unable to bear the separation with his Lord, went on pilgrimages to all the major temples in South India and composed many songs in praise of the deities of those temples.

Tyagaraja, who was totally immersed in his devotion to Rama and led the most spartan way of life without bothering in the least for the comforts of the world, did not take any steps to systematically codify his vast musical output.

Tyagaraja composed thousands of devotional compositions, most in praise of Lord Rama,

many of which remain popular today. Of special mention are five of his compositions called the Pancharatna Kritis(English: "five gems"), which are often sung in programs in his honour.

Kriti (Sanskrit: कृति, krti) is a format of a musical composition typical to Carnatic music, an Indian classical music style. Kritis form the backbone of any typical Carnatic music concert and is the longer format of a Carnatic music song.

Of the five Pancharatna Kritis, four are in Telugu and one in Sanskrit. They are set to music

in five ragas: Nata, Gaula, Arabhi, Varali and Sri. They are set to Adi Tala and each raga represents the mood of the song and the meaning of its lyrics. All the kritis are composed in the style of a Ragam Tanam Pallavi (RTP) with the charanams (stanzas) substituting for the kalpana swaras (improvisatory passages) in the pallavi section of the RTP.

The Pancharatna Kritis are:

1) Jagadananda Karaka - Ragam Natai

2) Duduku gala - Ragam Goula

3) Sadhinchane - Ragam Arabhi

4) Kanakana Ruchira - Ragam Varali

5) Endaro Mahanubhavulu - Shree Ragam

The melodic forms of these compositions (Nata, Goula, Arabhi, Varali, Sri) are the five

Ghana ragas of Carnatic music also called the ghanapanchaka. These 5 ragas lend themselves to elaborate improvisations. They are so called because they are suited to playing tanam on the veena. Nata and Varali are the most ancient of the Carnatic ragas and date back to over a thousand years ago.

Dr. Kalam, while addressing the first joint session of Parliament after assuming as the President of India, began his address with:

endarO mahAnubhAvulu-andariki vandanamulu

Salutations to all those great men in this world

Here is a collection of Carnatic Music's 5 Gems, Pancharatna Krithis, rendered by great people, who have spent their life in this field. It begins with MSS rendering Jagadanadakara, then to DK Jayaraman's Dudukugala. This is followed by Santhanam rendering Sadinchene and Kanakanaruchira by Balamurali. It concludes with Endaro by Ariyakudi Ramanuja Iyengar.

Some other Kritis by Tyagraja

Shabad Kirtan

Sikh music or Shabad kirtan is Kirtan-style singing of hymns or Shabad from the Guru Granth Sahib, the central text of Sikhism and compositions of some mystic gurus of Sufi and Bhakti movement.

It began in the 16th century as the musical expression of mystical poetry conceived by

the founder of Sikhism, Guru Nanak. Following him, all the Sikh gurus sang in the then-prevalent classical and folk music styles, accompanied by stringed and percussion instruments. 

The style was where the text was of prime significance and the music played a supporting, albeit important, role. The Gurus specified the raagin which they sang each hymn in the Sikh sacred scripture, the Guru Granth Sahib.

Sixty raags were and sixty raag variants were named. Several raag variants are unique to the Sikh music tradition.

While Hindustani music underwent significant changes in the setting of Mughal courts, and a separate stream of Carnatic music developed in southern India, Sikh music retained its original form and styles, a unique musical tradition encompassing a variety of melodic forms and a well-developed percussive system.

In the 20th century, the classical style was largely replaced by contemporary popular genres often based on Indian film music. Within the remaining classical tradition, the devotional Gurmat Sangeet style was overtaken by the darbaari khayal style. The harmonium took the place of stringed instruments and the tabla replaced the pakhaavaj and jori. Significant efforts have been under way since the 1970s to revive the rich Sikh music tradition initiated and developed by the Sikh Gurus. Various terms used to refer to this tradition include Shabad keertan parampara, Gurbani sangeet parampara and Gurmat sangeet.

Sikhs follow the teaching of Nanak, Kabir, as in Gurmat, Kabir, Ravidas, Bhatts all are same and all are treated as Guru and Sikhs bow before Guru Granth Sahib which include the teaching of many who had similar thoughts about God.

Bani in Guru Granth Sahib: 974 Shabads in 19 Ragas,
Gurbani Includes: Japji, Sidh Gohst, Sohilaa, 

Dakhni Onkar,Asa di Var, Patti, Bara Mah.

Guru Nanak (1469 - 1539), the founder of Sikhism and the first of the ten Gurus of the Sikhs, was born in the village of Talwandi.

The four feet of Dharma, the four castes were converted into one. Equality of the King and beggar, he spread the custom of being humble. Reversed is the game of the beloved; the egotist high heads bowed to the feet. 

Full Name : Ravidas, Raidas
Birth : 30 January 1399, Benaras, Uttar Pradesh, India
Death : Benaras, Uttar Pardesh
Other Info: 500 verses in Guru Granth Sahib.

Ravidas (also Raidas) was a North Indian Guru mystic of the bhakti movement from Ramanandi Sampradaya and one of the direct disciples of Ramananda. He was active in the 15th century CE. Venerated in the region of Punjab, Uttar Pradesh as well as Maharashtra, his devotional songs and verses made a lasting impact upon the bhakti movement.One of the most touching, written and sung, composition of Sant Ravidas as kirtan:

Madho Sat Sang Tumare Hum Auguan Tum Pukare

O Madho, along with taking refuge in holy company, I take refuge in you. I have many shortcomings and hence I call upon you.

Tum Chandan, Hum Irand bapare, Sang Sumare Vaasa
Neech Rupe Te Ucch Payain Hain, Gandh Sugandh Nivasa

You are the sandalwood tree, we are simple insects living in your fragrance.
Though born in lower birth, I am rising up! Like the lowly smell rising above.

. . . . . Sat Sangat Meel Raheye Sadhu, Jaise Madhup Makhira

I want to live as honey bees live around the honeycomb, in holy company always.

Jati Ocha, Pati Ocha Janam Hamara
Raja Ram Ki Sev Na Kini Kah Ravidas Chamara

Lower is my birth, lower is my caste, Nor Have I Done Service to the Lord Ram
That is the sweeper called Ravidas says

Bahut Janam Bichare Madho Eho Janam Tumare Lekhe
Keh Ravidas Aas Laga Ne O Chir Payeo Darshan Dekhe 

O Madho, I have been separate from you for so many births; this birth is written for you—offered to you
Ravidas says now I have deep desire to see you; a long time has gone by without seeing you, O Lord, O Madhoji.

Full Name : Kabirdas
Birth : 1440, Uttar Pradesh, India
Death : 1518, Maghar, Uttar Pardesh
Other Info: 500 verses in Guru Granth Sahib.

Bhagat Kabir or Saint Kabirdas (1441-1518) was a Devotee, Saint and Gurmukh born in Uttar Pardesh, India. He was a monotheist and follower, probably founder, of Gurmat. There are 227 Padas in 17 ragas and 237 slokas of Kabir in Guru Granth Sahib. He is revered by Hindus,Muslims and Sikhs, some Sikhs even use the word Guru in reference to Kabir. Like other Devotees, Kabir did not believe in Ritualism, the worshiping of Dieties, the Caste System. Kabir played the role of a teacher and social reformer by the medium of his writings. Bhagat Kabir guided Gurmat to Ramanand, whom he adopted as worldly guru. The Kabirpanthi sect which follow the teachings of Kabir, referring to him as their guru.

Langha: राजस्थान की अक्षुण्ण संगीत परम्परा

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: The Music of God's home

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 sankeerthanam: शुद्धब्रह्मपरात्पर राम्

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.


Hanuman, Samarth Ramdas, Tulasidas,Kabirdas, Thyagaraja, Ramadasu, Sai Baba, Papa Ramdas, Gandhi, Yogi Ramsuratkumar are some of the greatest devotees who believed in Sri Rama Japam and could do wonders on their own right, speaks volumes on Nama Japam.

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.

Nama Ramayanam - in sanskrit with meaning

Sankirtan Ramayan