Shyama Sangeet : Call to the divine Mother

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.

During the 12th-13th centuries when Shaktism grew

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. .

(http://grandpoohbah.blogspot.in/2006/10/shyama-sangeet.html)

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.

A list of Ramakrishna & Shyama Sangeet

Harivallabh - A Tradition - A Legend

Shree Baba Harivallabh Sangeet Sammelan

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).

http://www.harballabh.org/home.html

Hori of Banaras Gharana: खेले मशाने में होरी दिगंबर..

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)

  “खेले मशाने में होरी दिगंबर.. खेले मशाने में होरी.. भूत पिशाच बटोरी दिगंबर.. भूत नाथ के मंगल होरी”

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।

Kabir Amritwani

Kabīr, (born 1440, Varanasi; died 1518, Maghar), iconoclastic Indian poet-saint revered by Hindus, Muslims, and Sikhs alike.

Kabir was initiated by Swami Ramananda- a major exponent of Vishishtadvaita philosophy who considered lord Rama as Iṣṭa-devatā. Kabir too often refers to Ramaas his lord. He did not become a sadhu, nor did he entirely abandon worldly life. Kabir chose instead to live the balanced life of a householder and mystic, a tradesman and contemplative. However, there are conflicting views of whether he actually entered into a formal marriage or not.

Kabir's family is believed to have lived in the locality of Kabir Chaura in Varanasi. Kabīr

maṭha (कबीरमठ), a maṭha located in the back alleys of Kabir Chaura, celebrates his life and times. Accompanying the property is a house named Nīrūṭīlā (नीरू टीला) which houses Niru and Nima's graves. The house also accommodates students and scholars who live there and study Kabir's work.

Kabir's legends describe his victory in trials by sultan, a Brahmin, a Qazi, a merchant and God. The ideological messages in Kabir's legends appealed to the poor and oppressed. David Lorenzen describes primary purpose of his legends as a "protest against social discrimination and economic exploitation".

His greatest work is the Bijak (the "Seedling"), an idea of the fundamental one.

This collection of poems elucidates Kabir's universal view of spirituality. Though his vocabulary is replete with Hindu spiritual concepts, such as Brahman, karma and reincarnation, he vehemently opposed dogmas, both in Hinduism and in Islam. He often advocated leaving aside the Qur'an and Vedas and simply following Sahaja path, or the Simple/Natural Way to oneness in God. He believed in the Vedantic concept of atman, but unlike earlier orthodox Vedantins, he spurned the Hindu societal caste system and Murti-pujan (idol worship), showing clear belief in both bhakti and Sufi ideas.

Kabir calls his God by the name of Rama. However, his Rama is not the Rama of Ayodhya born of Dashratha. His Rama is Niranjan (without taint), Nirakar (formless) and Nyara(omnipresent, extraordinary). Here, his views are in line with the best ideals exposed in the upanishads.

His Hindi was a vernacular, straightforward kind, much like his philosophies. A major part of Kabir's work as a bhagat was collected by the fifth Sikh guru, Guru Arjan Dev, and incorporated into the Sikh scripture, Guru Granth Sahib. The hallmark of Kabir's works consists of his two line couplets, known as the 'Kabir ke Dohe'.

Kabir's poetry today:

There are several allusions to Kabir's poetry in mainstream Indian film music. The title song of the Sufi fusion band Indian Ocean's album Jhini is an energetic rendering of Kabir's famous poem "The intricately woven blanket", with influences from Indian folk, Sufi traditions and progressive rock.

Noted classical singer, late Kumar Gandharva, is widely recognized for his wonderful rendering of Kabir's poetry.

Prahlad Singh Tipaniya is an Indian folk singer who performs Kabir bhajans in the Malwi

folk style from Madhya Pradesh. He performs together with a group of tambura, khartal, manjira, dholak, harmonium, timki, and violin players.

He is associated with The Kabir project, which brings together the experiences of a series of ongoing journeys in quest of this 15th century north Indian mystic poet as well as other Bhakti and Sufi poets in our contemporary worlds. Started in 2003, these journeys inquire into the spiritual and socio-political resonances of Kabir’s poetry through songs, images and conversations.

Other videos

Tu Ka Tu

Thaara Rang Mahal Mein

Mahesha Ram ji sings Kabir re chalat chalat

Jhini Jhini Bini Chadariya 

Kahe ke Tana Kahe ke Bharani 

Kaun Tara se Bini Chadariya

A beautiful Kabir Bhajan from the Gundecha Brothers'

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.