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Rajasthan

Jalal Khan and Group

With the grand backdrop of Jawahar Niwas in Jaisalmer, Jalal Khan and his group laid out their set up of instruments and worshipped then before placing on the carpet. It was such a beautiful sight to see all the artists who are Muslims, pay respects to their instruments by keeping a picture of Goddess Saraswati in front of them. The artists before anything said their prayers and then began with their song:

Aiso re din aaj ro

(Today is the kind of day)

 

Aiso nito nit hoy

(Which is nothing like other days)

 

Aanagan barse mehuda

(The rain falls in our balconies)

 

Hiwde thandak hoye

(The heart feels relieved)

 

As Jalal   Khan starts explaining the system of Raagas, his eyes light up with excitement and one can’t help but keeps listening to this man’s deep voice for hours. According to him, the Maanganiyaar folk music is based on 6 main raagas, namely Sarang, Maru, Suvabh, Dhaani, Sorath and Goondh Malhar. According to musical history, these 6 raagas have 5 wives each, known as “Raaginis”, making it a total of 36 raagas in their folk music.

He also teaches music at home to his children and to over 50 students. Apart from vocals, he and his group are also proficient in playing other instruments like Dholak, Khadtaal(castanet), Harmonium and Khamaicha. Talking about the importance of music in his life, he says, that even when a newborn cries in their family, it’s in a perfect melodious pitch!

 

Their songs comprise of themes from almost all aspects of the royal life, childbirth, marriage, love and longing for one’s beloved. At times, the songs are customized for special occasions for the royal family. Personally, his favourite genre is Sufi music. As is the case of most popular manganiyaar singers, his patron is also Komal Kothari.

 

As he lights up another beedi, he fondly speaks about the importance of education in his and his children’s life. Apart from music, this talented man from Jaisalmer wants his children to be well educated apart from providing them with a training in music. His children are equally passionate about music and want to pursue it further. As Ashraf Khan (his son) says, he mainly sings in Raag Sorath and is learning harmonium as well. His guru is his father. Jalal   Khan also takes music workshops in training camps. His musical themes are deeply inspired by and embedded in the culture of Jaisalmer.

 

It’s interesting to note that how the mundane, daily things have been woven into this musical magic by Manganiyars. The golden city of Jaisalmer and its surrounding villages are famed for their rich history of kings and poets and is a place where Muslim and Hindu mystical traditions come together -timeless and beyond borders. True to its nickname, the music of the Golden city is pure gold as well, heated in this mystical land and honed through generations. This is the land of music, seasons, mystery, colours, puppets, ruins, architecture, stones and love.

 

And this is the beauty of the folk music of these Manganiyaars, simple yet expressive and one couldn’t help but relate to it and love it more. Their songs grow on you with time, and you might find yourself humming bits and pieces of it without realizing it.

 

A talented group of musicians coming from the Dagga tribe of the Manganiyar community residing in small village called Chandan situated in the Jaisalmer district. These Rajasthani folk musicians understand music in and out as they develop and present music adapted from the traditional folk as well as Sufi songs that have survived through the passing centuries and generation. Most of the songs they play are utterly devotional towards the gods and goddesses they worship. Their devotion is evident and breaks the chains of following a specific religion as they sing praises of Hindu gods and goddesses even though they come from a Muslim background.

 

Apart from folk melodies, they have also mastered various other forms of music like Qawalis, Ghazals, Rajasthani and Bollywood fusion, etc. They have also developed a true understanding of classical music including all the ragas and talas. The group leader Jalal Khan believes that the most important thing in any artist’s life is authenticity and transparency. He has also featured in the top 15 contestants in the colours TV show called ‘Rising star’ in the year 2017 and won accolades such as the national award from Madan Mohan Sangati in Rajasthan.

 

Jalal Khan’s talent in playing Dholak along with Mustaq Khan, Sabir Khan, and Hanif Khan with their exceptional display of vocals and instruments such as Harmonium, Khartaal, and Shehnai is a sight to watch without a blink of the eye.

 

The group has performed in various cities of the country as well as abroad. Their most memorable performance took place in the city of Durban, South Africa. They have also done shows in countries like Kenya, Bhutan, Mozambique, and Tanzania. Apart from shows, these artists want to contribute to the preservation as well as the promotion of their local culture across the world.

Sabir Khan and Group

(The groom looks like a bunch of flower in the garden)

Beend raja aisa bana

Tara ke beech Chand

(He looks like the moon amongst stars)

Aiso din aaj ko

Nit nit hoe

(May the day like this occur every day)

 

The lyrics of this song along with many others have been written by Sabir’s ancestors and they pick up on the age-old tradition. In fact, he tells that most of these songs are never written and they are considered down upon for their own storylines and characters. Even though some of the characters taken are from the mainstream tradition but there are differences in the plots suiting to the local imaginations of the people. But it can still be considered as a heritage for its centuries of transmission and the belonging to the world of local and indigenous. In fact, the folk artists of Rajasthan are the forgotten storytellers of the rich culture and tradition of the area and the songs tell the stories of bravery, love, romance and everything happened and did not happen.

Sabir Khan is a child artist who is currently in his early teenage years of life. At such a young age Sabir has gained extensive knowledge about music, especially its classical and traditional Rajasthani folk forms. At such a juvenile age, Sabir Khan leads a group of young and upcoming child artists. He belongs to the Manganiyar community of Jaisalmer. This community has a traditional way to teach every child the intricacies of music through vocals as well as musical instruments.

He has practised multiple traditional instruments like Dholak, Dhol, Khartal, Morchang etc. As he is still at a learning stage in his craft he still takes classes from his paternal uncle and used to play dholak with his grandfather. He has performed in almost all district within Rajasthan and metro cities such as Mumbai as well. He considers his performance in Mumbai as the most memorable one and wishes to replicate more experiences of the same kind.

Sabir Khan has set an aim to support and promote the Manganiyar culture at such a juvenile age. He aspires to do so and create more awareness as well as opportunities for the folk musicians who reside in the region through his artful display of their traditional genre of music as well as dance.

Sabir and all the members of his musical group are children who have yet to be initiated into the world of responsibilities of adult life. This gives them a substantial amount of buffer time to take advantage of their talents and make a presence for themselves in the musical sphere of the state as well as the country. Young instrumentalists like Hazur, Moti and Hanif Khan, who are quite dedicated to their art make for brilliant talents at such young ages. The vocals of Sarvar, Sohail and the leader himself have shared with each other a spectrum of knowledge in music and shall keep doing it for as long as they can.

 These children idolize the elders of their villages who have passed on their musical knowledge to them. They also idolize popular folk and Sufi musicians from the state and understand the importance of their success which brings prosperity to their culture and raises awareness about it in the outside world.

But he says, “We sing songs of happiness and royalty. We do not let our pain surface our voice. It remains within us.” But he is still caught up in the shackles of poverty due to the negligence of folk music.

But then he says, “music is our refuge.”

Edhe Khan and Group

Edhe Khan is a vocalist from the Dagga tribe of the Manganiyar community. He began to learn music during his teenage years from his grandfather. He also learned how to play various traditional instruments such as Dhol, Khartal, and Harmonium. Specializing in folk melodies that are sung and performed on numerous auspicious occasions as well as bhajans, Edhe Khan formed his group of folk artists and now these young musicians are on the cusp of gaining more popularity in the state.

Edhe Khan has only received formal education till the 5th grade. Beyond that, he began to learn and take music more seriously. He also started learning about the ragas and taals involved within the classical music spectrum and considers the Des raga as his favourite raga of all stating the reason that it involves all the seven notes while being played. He has also performed in various districts of the state of Rajasthan and his most memorable performance was when he performed at the wedding ceremony of Lucknow’s royal family’s daughter.

All the singers and instrumentalists in his group are passionate about pursuing music and intend to work in the field of music while promoting the Manganiyar culture from Rajasthan to the whole country and eventually the world. 

Ujri bhabooth ang

Mastang soye gang

His body is smeared with ash, the river Ganga rests on his forehead.

Raate rate naino aankho

Neelkanth dhaaye

One who has red eyes and has a blue throat (as per mythology, Lord Shiva has a blue throat)

Aarso hamare bhaag bhole shambho aaye

We are truly blessed that Lord Shiva has come to our abode.

Edhe Khan has performed all over India and has also spent a considerable time abroad. When asked about the current situation of folk music, he says that folk music is endangered these days due to the influx of popular Bollywood songs. Edhe Khan adds that folk music requires a lot of energy to sing, as the complex raagas like Khamaj, Bhairavi, Sorath require powerful vocals, and which should be produced straight from one’s heart and breath. Edhe Khan’s father was a poet and a storyteller, who has composed many poems with themes like various stages in the life of a man.

Edhe Khan is concerned about the future of this folk music and believes that they need good people and patrons for promoting this art, he says that the Government should help them for their upliftment. He wants future generations to revive this art. As per him, Manganiyaars are the most humble people on this earth, unlike a king, who can even kill his own brother to usurp his throne, Manganiyaars live by their talent, and they eat, sleep and breathe music.

Mathura ji mein baaje dhol

Gokul mein arak hove

Lord Krishna was born in Mathura where his birth was celebrated, with all the pomp and show,

Later on, he went to Gokul, where he was raised, and Gokul was happy to receive him too.

Dhan Dhan halariyeri maa

Blessings to you, O Mother of Lord Krishna

The ties between the Manganiyars and Rajputs are hundreds of years old. The Rajputs would protect the Manganiyaar community during times of wars and invasions which in turn helped in the preservation of the age-old art form and various compositions that originated from it. This community is quite peculiar as all of them belong to the Muslim religion but besides Sufi, they mostly sing praises of Hindu gods and goddesses such as Lord Krishna and Goddess Durga. A lot of the inspiration also originated from the extreme weather conditions of the desert as well as the dunes. 

The whole community is basically a musical family that has continued its tradition from uncountable generations and Edhe Khan is just the latest one in a long line of musicians who start learning how to sing and play music before they start going to school. At such an early age they master traditional instruments such as Dholak, Kamaicha, Morchang, and Khartaal. Unfortunately, due to a lack of financial support from the government as well as a lack of awareness about the form of music they like to present, most of them have to engage in other occupations. For instance, Edhe Khan himself has worked as a carpenter during the early days of his career in the field of music. 

They understand a lot of the theory that goes into producing classical music such as the ragas and talas. They are most fond of singing the Des Raga which involves the usage of all seven notes in a song. As a group, they have performed in a lot of places, especially in multiple districts of Rajasthan. Their most memorable performance, in their own perception, was in Lucknow. They want to continue to showcase their art form and perform their music in order to expand their horizons and promote the culture of Rajasthan and the Manganiyars.

Pepe Khan and Group

On hearing this song, one cannot resist but smell the air of Rajasthan:

Ghoomar hai nakrali hai maa

Ghoomar ramva mai jaasa

( Let me enjoy the dance, let me go there)

This is the song of fun and dance and all those emotions that a young girl beholds. Those emotions when translated in the beautiful and distinguished voice of the legendary Pepe Khan, they strike a chord in the heart.

 

Pepe Khan, who belongs to Unda village of Jaisalmer district, is a part of the Manganiyar community. The whole community is mostly folk and Sufi musicians who have been engaging in these art forms for generations. The group has expertise in bringing to life old folklores and stories through a breath-taking display of traditional musical instruments such as Khartaal, Harmonium, and Dholak.

 

When it comes to studies he hasn’t attended school after class 7th but still remembers the age-old songs coming from generations just like that. He now feels that education is very important and therefore he made sure that his children are studying. He wants his children to study more than him and become a competent person in life such that they cannot be fooled. Apart from music he also drives auto in the city of Jaisalmer for some extra earnings.

He has performed at most of the places on both national and international levels from Dehli, Punjab, Haryana, Mumbai to the USA, Sydney, London, etc. The music is infinite, and the possibilities of his melodies are endless. The music itself is so vast that it cannot be confined to a textbook and standardized, as there are no set standards for learning music which is imbibed in his blood through generations.

 

Almost everyone in the group, as well as the whole community, begins learning the art of music at a very early stage in their lives. A lot of them are only children studying in primary classes in school. This shows how much importance is paid to grassroots development and how it helps in developing a certain level of mastery in their skills. 

 

Pepe Khan himself plays the Dholak with great finesse. Along with the percussions using Khartaal by Khete Khan and Shaukat Khan, and the rugged yet beautiful voice of Sarvaan Khan with his harmonics, they prove to be one of the most talented groups of musicians in the state of Rajasthan. Apart from Rajasthani folk, the group also likes to sing Qawalis and Sufi songs which are sometimes adapted and modified from older versions of these songs. Their knowledge in the field of classical music also makes helps with their performances and improvisation of older folk melodies. They like to perform music played in various ragas and talas but they are most fond of playing the raga Bhairavi as they believe it has the most beautiful sounding tone. 

 

They have performed not just in all districts of Rajasthan, but also done shows in multiple countries such as China and Korea. Even though the frequency of their performances has decreased in Udaipur, they believe that the art forms former prestige can be restored through the support of music enthusiasts and experts and are open to meeting, interacting and learning new ways of music composition from them.  

 

 

Before he sings, he touches his ears, folds hands, and ask for forgiveness. In Islam, the religion he and other Manganihars follow, music — ‘ useless entertainment’ — is forbidden for it leads away from the path of spirituality, they say.

But he is a believer like others of his tribe and believes in the mystic power of music to reach God. Music, they have been told, creates arousal, and passion. Hearts should not be moved with desire. Stretching, raising, and softening the voice could lead to sins of passion.

Pepe Khan has travelled places for his music. He has performed all across the globe in various countries. He says, “I can’t name all of them in one go. But what’s the benefit? We still struggle. May God listen to our songs (prayers).”

 

He has been learning music from a very young age. He first learnt it from Ustad Baage Khan when he was a child. It is a lifelong journey, he says. It never ends. Pepe has studied till the seventh standard and could not pursue further studies. But, now he wants his children to study hard and also learn music knowing the condition of Indian tribal music he doesn’t want them to starve like himself. He feels that education will take his children ahead and would also help them take music all across. He also drives auto-rickshaw for a living since folk music is only a seasonal work.

 

“I sing while driving auto-rickshaw too. It entertains my passengers. Afterall, I have to take care of my family and money is a challenge through music.” He says.

He quotes from his song, ‘Shayanayo Badariyo jino madro baje’

Kaagaj hue to baach lu

Karm na baacho jae

(If it would have been paper, I would have read it

But I cannot read my karmas)

 

Though it’s a romantic song he picks these lines to convey the irony of life. It is a difficult paradox. But music is all that we love. Hope someday our songs shall be heard.

Mushtaq Khan and Group

Let there be no noise made, my gentle friends;

Unless some dull and favourable hand

Will whisper music to my weary spirit.

Mushtaq Khan’s family has been into music for generations, and he, himself has been learning music ever since he remembers. The eyes of this 35-year-old singer from the Manganiyar community of Rajasthan light up as he starts speaking about his music with all the passion.

The group also has 5 other members, and all of them are related to each other. Basically, their whole bloodline is musical. Mushtaq Khan was brought up in a musical environment and has been singing these folk songs since his childhood.

Like most of the Manganiyaars, this group songs also has various range of themes like marriage, love, separation, childbirth and the special occasions in a family. Various families in Jaisalmer, have been their patrons for ages, and their economy is dependent on music. Their musical groups are called to perform on these occasions, and this group has performed at various destinations in India and Mushtaq Khan has also travelled and lived in Washington, California and New York for workshops. He also collaborates with other musical groups from time to time.

These ragas used by Mushtaq Khan also hints of influences from Guru Granth Sahib, According to the Guru Granth the first raga created by the Maker was Bhairav, and raga Bhairav had five raginis of which only the first, raga Bhairavi is known today and performed. The folk songs of Rajasthan have maintained the elements of Indian classical music despite the fact that they are freely composed and sung, knowing no rigid rules. At times, their audience also demands popular songs, which have been imbibed into Bollywood, and they are more than happy to oblige since they consider that music is essential for enjoyment. When asked about his future plans, Mushtaq Khan says that he wants his children and the upcoming generations to carry forward this musical tradition while keeping their formal education in a healthy balance.

Mushtaq Khan’s music is mesmerizing and his deep, baritone voice keeps the mood of the music alive. They combine their love for music and the skill for the same to make musical masterpieces, and timeless harmonies. Interestingly, the lyrics to these songs are quite simple, yet they are capable of evoking heartfelt human emotions.

Nowadays, in order to keep the musical tradition alive, is difficult, since many songs are lost with time, owing to the influx of popular music, therefore recognition of these artists is essential as they form the part of intangible heritage of Rajasthan. A culture to be nourished, enhanced and shared. Poetic and lyrical melodies echo in this never-ending Thar, and its every sand grain.

Their knowledge in the theory of Indian classical music such as different ragas and talas separates them from other folk groups as communities of the country. Mushtaq Khan’s group, in particular, pays a certain amount of preference to the Kalyan raga which is usually played at dusk. They have performed in various Indian cities but found performing in Mumbai the most exciting and rewarding.

They come from humble backgrounds but have a vigorous desire to create and perform their art not just to make a living but contribute towards their community’s musical culture. They have come together form similar walks of life and different age groups to form a clique in order to showcase their skills and abilities to promote the culture of Rajasthan and set it on a path of prosperity.

The Roots Music Group

Let there be no noise made, my gentle friends;

Unless some dull and favourable hand

Will whisper music to my weary spirit.

As much as Jaisalmer is filled with the golden sand, it’s also filled with traditional folk melodies, which echo stories of generations, imbibed with these melodies. Habib Khan hails from the Mirari tribe that resides in Chelak village in Jaisalmer district of Rajasthan. Their tribe is a part of the Manganiyar community of the state which had been quite popular since the time of Rajput rulers who have protected them and become their patrons over the historic years during the medieval times. This group specifically considers the Bhati family as their patrons and has been providing them with their musical flair for many years.

Habib Khan’s family has been into music for generations, and he, himself has been learning music ever since he remembers. The eyes of this 35-year-old singer from the Manganiyar community of Rajasthan light up as he starts speaking about his music with all the passion.

The group also has 5 other members, and all of them are related to each other. Basically, their whole bloodline is musical. Habib Khan was brought up in a musical environment and has been singing these folk songs since his childhood.

Like most of the Manganiyaars, this group songs also has various range of themes like marriage, love, separation, childbirth and the special occasions in a family. Various families in Jaisalmer, have been their patrons for ages, and their economy is dependent on music. Their musical groups are called to perform on these occasions, and this group has performed at various destinations in India and Habib Khan has also travelled and lived in Washington, California and New York for workshops. He also collaborates with other musical groups from time to time.

September to February is the peak season when most of the occasions like marriage take place, and when they get their most business. Habib Khan has learned music from his father and his children are also being trained in music currently. The main instruments used by his group are Khamaicha, Dholak, Harmonium, Morchang, Khadtaal, and Algoza. The main recurring raagas in their songs being Shubh, Kalyan and Bhairav. Like other Manganiyaars, they also believe that traditionally, and as per mythology, there were 6 main raagas, and each raga has 5 wives, making it a total of 36 raagas, which forms the base of their classical music vocabulary. While most raagas are meant to be sung at a particular time, as per the time-theory of music, Raag Bhairavi is considered to be “Sada-suhaagan” (literal meaning, forever married). He considers bhairavi to be one of the most important raags, which can be sung at any time and any occasion.

These ragas used by Habib Khan also hints of influences from Guru Granth Sahib, According to the Guru Granth the first raga created by the Maker was Bhairav, and raga Bhairav had five raginis of which only the first, raga Bhairavi is known today and performed. The folk songs of Rajasthan have maintained the elements of Indian classical music despite the fact that they are freely composed and sung, knowing no rigid rules. At times, their audience also demands popular songs, which have been imbibed into Bollywood, and they are more than happy to oblige since they consider that music is essential for enjoyment. When asked about his future plans, Habib khan says that he wants his children and the upcoming generations to carry forward this musical tradition while keeping their formal education in a healthy balance.

Habib Khan’s music is mesmerizing and his deep, baritone voice keeps the mood of the music alive. They combine their love for music and the skill for the same to make musical masterpieces, and timeless harmonies. Interestingly, the lyrics to these songs are quite simple, yet they are capable of evoking heartfelt human emotions.

Nowadays, in order to keep the musical tradition alive, is difficult, since many songs are lost with time, owing to the influx of popular music, therefore recognition of these artists is essential as they form the part of intangible heritage of Rajasthan. A culture to be nourished, enhanced and shared. Poetic and lyrical melodies echo in this never-ending Thar, and its every sand grain.

They focus on Rajasthani folk music and make songs dedicated to various auspicious occasions for the royal family. Using their creativity for writing lyrics and using folk melodies in order to convey their messages, they sing about weddings, birth, and death ceremonies for these families as well as their whole community. Along with Satar Khan, Bhutte Khan, Salim Khan’s melodious music and Devu Khan’s vocal ability, they have a group that has mastered all the traditional Rajasthani musical instruments like Dholak, Khartal, and Harmonium. 

Their knowledge in the theory of Indian classical music such as different ragas and talas separates them from other folk groups as communities of the country. Habib Khan’s group, in particular, pays a certain amount of preference to the Kalyan raga which is usually played at dusk. They have performed in various Indian cities but found performing in Mumbai the most exciting and rewarding.

They come from humble backgrounds but have a vigorous desire to create and perform their art not just to make a living but contribute to their community’s musical culture. They have come together form similar walks of life and different age groups to form a clique in order to showcase their skills and abilities to promote the culture of Rajasthan and set it on a path of prosperity.

Chhote Khan and Group

Drenched in the Sun of Jaisalmer’s golden city Chote Khan and his group sat down with their instruments to play the tunes of their music. For them, music is their lifeline. The group leader Chote Khan is a modest person who believes in hard work and disciplined life. He is someone who had been acquainted with music since he was a four-year-old kid. He says that he never sat down with anyone particularly to learn music, whatever he knows till date is all because of his father and brother who used to sing every day.

Talking about the music and traditional folk, he says that he sings songs in all kinds of Ragas like Khamaj, Bhairavi, Malhaar etc. Amongst these, his favourite is Khamaj in which he sings all the happy occasion songs. Chote says that they sing all kind of songs, for all the occasions they have traditional folk songs, right from birth to death. They are known for singing songs for all the auspicious occasions like childbirth, marriage, housewarming, etc. Since they are considered auspicious by their royal patronage, they are being called before every such occasion. They tell with pride that no happy occasion starts without their presence and performance. 

When asked about the group’s future, Chote thinks of his kids and says with a smile, “ bachche hain bhavishya, inhe hi seekha padha rahe hain ab to sab inke haath mein hain, barbaad karein ya abaad karein (these children are the future of our traditional heritage and we are doing our duty by keeping it alive through teaching these children, now everything is in their hands to save or to destroy.).” He told that the children in his family have very much keen interest in their traditional folk music but he makes sure that they are also studying with sincerity. He recalls his time of life when he was a child and left his studies for the sake of focusing on only music. He feels that he should have completed his studies at least till class 10th, then he wouldn’t have to face unpleasant situations in his life and thus he will put in all the efforts to make his literate. 

 Chote Khan and his group’s music speak for themselves. They then sit together to perform, binds the atmosphere with a magical aura that mesmerizes the audience. The group sings all kind of songs, especially the one which are original authentic folk songs. The group is known for singing songs which are very rare to be heard and thus there are few songs that only they sing and no one knows such songs. The group is one such group of Rajasthan Manganiyaar community that has a treasure of age-old traditional folklore. They are trying to pass on this traditional heritage to their next generation and have all their faith in them that they shall carry forward with them to give to their next generation.

 This group is all about passing on the fire of traditional heritage from one generation to another, which has actually become an exercise drill to make it survive anyhow. The new generation in their group is also very serious when it comes to learning and the old traditional folk songs. They say that it is easier for them to learn them with their studies as they have interest in both of them. They, just like their elders have dreams of taking forward the legacy of their forefathers to a wider audience and global platform. They want the world to know Rajasthan because of them and want to become an epitome of the great music of Rajasthan in the world.

 The seasoned artists in the group are responsible for the teaching and guidance of the younger artists present in the group. The group sings mostly authentic original songs of their traditional heritage which has been passed on from their forefathers to them which each generation. The group performs at various occasions like childbirth, wedding, house warming, etc. at their patronages’ houses. The group earns their living out of the live performances they give at various different places. Apart from the music they literally don’t have any means through which they can earn. 

These group of artists don’t dream of going to Bollywood and collecting fame, rather they and the world to know Rajasthan and their singing is known by their music. They want to make their country proud and carry forward their legacy from one generation to another. For them all they know is music and they can never get apart from it and thus for them, it is not just music it is their way of living their lives.

Amrat Khan and Group

Words are less to describe the sheer poetry that is Sufism and the music which echoes as far as the sand dunes of Sam or Khuri or the ramparts of the majestic fort. Amrat Khan fondly likes to be known as a Sufi Singer and says that the colour white is symbolic of Sufism, as it is the colour of purity and the ‘ibaadat’ of Allah. Sufism is a phenomenon of mysticism, and Amrat Khan’s songs are truly mystic in nature. As per Amrat Khan, Sufism is his family tradition, and music is divine worship.

Amrat  Khan’s family has been into a Sufi musical tradition for ages, and their songs comprise of songs which are a beautiful amalgamation of Hindu and Islamic traditions. Amrat Khan studied till standard 5th, and then took to music because of financial reasons. He comes from a rural area, prone to drought and describes his childhood as difficult due to the lack of basic facilities in his village. Most of Amrat     Khan’s “Jajmaan” i.e. patrons are Muslims and royal families, and almost everyone in his family is trained in Sufi genre of music. Amrat Khan’s describes his family tradition as Sufi and says that Sufism is a divine medium of reaching Allah directly.

Amrat Khan’s powerful voice echoes in Nachana Haveli, as he loses himself in trance. He has performed all over India and in over 9 countries abroad including London, Turkey, Dubai and Iran. Apart from these, Amrat has also performed in Pakistan in 2006. Amrat     Khan dreams of an ambitious future for the coming generations and wants his children and grandchildren to be educated. Amrat also teaches music to as many as 30 people who learn from him and is now their ‘Ustaad’. (master or teacher).

Coming from the Manganiyar community of Jaisalmer in Rajasthan, Amrat Khan and his group of musicians belong to the Merari Gharana. The songs they sing are mostly about the storytelling of events that take place in royal Rajput families residing in the region. Their spectrum of knowledge in classical music comes from learning through practical experience and observation and they sing all the ragas like the Sourath raga, Shoob, Bhairavi, and Bilawal. 

Amrat Khan’s breathtaking vocals and a dynamic display of Harmonics played on the Harmonium along with the percussions of Khartal provided by Sarup Khan as well as the beats of the dholak by Sawan Khan are a sight to watch and make for a brilliant sounding melodious musical performance every time they get the opportunity they play. Their aim is to showcase their music in various countries of the world and spread awareness as to the presence of their art form in the musical community. They want to make a difference to the living of the families of the Manganiyar community as their culture prospers through the means of folk melodies composed by them.

Bulle Shah is Amrat Khan’s favourite poet and he uses Bulle Shah’s poetry in his songs quite often.

Charkha pukaare ruh hi ruh

Ruh pukaare tu hi tu

Aala ilm padheya nahi

Bulla baneya to kya hua?

A charkha is a wooden instrument used to spin thread from cotton. An intentional pun is used here as “ruh” means cotton as well as “spirit”, in Hindustani language. A Charkha spins the thread, but the spirit calls the name of Allah. So, it doesn’t matter if I am famous as Bulle Shah unless I have the ‘ilm’ or the desire to worship Allah. (Bulle Shah addresses himself as he leaves his signature in this composition).

Amrat Khan wants to pursue music as long as possible and is financially dependent on music. When asked about the traditional costume which he wears, and the dominance of colour white in his group’s attire, he says that Sufism believes in purity and love, and they are devoid of materialistic desires, therefore they wear white clothes, and instead of wearing colourful turbans as is seen in the Manganiyar community, they wear turbans of red colour, since red is a symbol of love.

His group’s music is as unique as it is timeless, as it combines the traditions and emotions from both Hinduism and Islam, music has no boundaries of caste, creed or religion, and Amrat     Khan’s music is a perfect example of that. In one particular song, rendered from a poem by the famous Sufi Poet, Shah Latif, who composed mainly in the Sindhi language, a girl wishes to leave this material world and desires to become a ‘Jogan’, (female ascetic). In the entire song, she uses various metaphors for describing a Swami, yet retaining the Sindhi-Islamic flavour. It’s interesting, yet worth noting that most of the singers from these Manganiyaar communities are followers of Islam when it comes to religious worship, yet they are Hindus in their day-to-day life.

Khufar jholiyo kulhan mein

Wajnan wayu kann

The swami carries a satchel (jhola), in which he keeps a utensil

When he asks for food.

He keeps walking and roaming till eternity.

(Swamis, in India, generally carry a satchel, and are dressed in simple clothes, they are devoid of material desires and live on “bhiksha”, on people’s generosity)

The swami usually carries a utensil which is known as ‘kista’ in the local language and lives on the food provided by the people which he carries in his ‘kista’. The most mesmerizing thing about this composition is that it’s composed in Raaga Malahari, which is an important Raaga in Hindustani Classical music and is associated with the atmosphere of rains. Yet, this is the beauty of folk music, that one raga can be used to evoke various emotions and to create a variety of moods. 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. Rarely does one come to witness a beautiful palimpsest of different raagas, languages, and emotions together, and Amrat Khan’s powerful vocals enhance the poetic mood of these compositions. A staunch follower of the Sufi genre of music, Amrat Khan wants to retain this genre and wants to practice it till eternity. Amrat  Khan concludes with a beautiful song.

Sawai Khan and Group

Sawai Khan had always aspired to be a musician and was mostly tutored at home. Like all other members of Manganiyaar community, his family has been singing for the royal families since generations. Sawai Khan’s inspiration has been his uncle, Nazeer Khan and he wants this art to pervade into the future generations. He has been singing since the age of 8. Simple, humble and not very talkative, Sawai  Khan explains about his music with a sense of calm, and with a composed articulated manner.

 

Sawai Khan leads an experienced group of musicians who have been learning music from a very young age. They come from the background of the Manganiyar tribe who have been residents of the Barmer and Jaisalmer regions of the state of Rajasthan. The music is an indispensable element of the culture of this tribe. Most people from this community take up music as their primary source of income. These people are deeply passionate about their music and are purely involved in the art forms that have been passed onto them by their ancestors. 

 

Sawai Khan himself is an expert at playing various traditional instruments, especially Harmonium. He has more than two decades of experience in learning and playing the instrument. His musical group consists of percussion specialists like Mushtaq and Rasool Khan who play Dholak as well as Devu and Satar Khan’s skills lie in playing the Khartal. 

 

Together these musicians have sung and compiled numerous folk songs over the years. They have performed at a number of events around the state of Rajasthan and have made multiple appearances in different cities of the country. Sawai Khan’s group considers the Bhati family, who is a royal Rajput family residing in the region, as their patrons and regularly perform at the celebratory events organized in the family. 

 

Sawai Khan himself is deeply knowledgeable about classical music and its components such as the ragas. He has gained this knowledge with the help of his father and passes it on to his children as their guru. He loves to sing the ‘Subh’ raga, which is supposed to be sung in the morning. His talents and abilities show the true meaning of brilliance and dexterity. Using these abilities and a display of various emotions through his music, Sawai Khan wants to make an impact on to the Manganiyar community’s presence in the world of music. 

 

 

As he talks about the Alamkhana history, Sawai Khan explains, that there are four sub-castes even amongst Manganiyaars, namely, “Bhand”: Jesters in the royal courts, “Nagarchi”: People who play the ‘Nagada’, a sort of large drum, ‘Dagga’ people who played the dholak, and ‘Chandani’. His group has performed many times in the royal courts and the songs are customized for the Maharajas. Unlike other groups who combine classical and folk raagas, his group is only into pure folk music, and follow the traditional system of 6 main Raagas, and 30 raaginis. (wives of raagas, as per mythology). At times, singing styles like Dadra are improvised on the spot.

 

One of his main principles has been to always lend a helping hand to others, as he believes that God watches over all of us. Sawai khan is a song composer too, and through his songs, he pays a tribute to women and their “Shringaar”, which literally means ornamentation, or the way the women deck up themselves to please their husbands. One can almost feel the pain of these women who dutifully abide by their husbands’ whims and fancies, yet, their love for them is unending, and their devotion towards them never dies, just like the music of Jaisalmer.

 

Such is the music of Jaisalmer, embedded in its golden sand dunes and engraved in every stone of the majestic living fort-city. Manganiyaar communities like that of Sawai Khan have kept their tradition alive through all these years through Guru-Shishya parampara, (teacher disciple tradition). They have been entertaining the royal families since generations and their contribution to musical history is as vast as the Thar desert itself. The elegant use of poetry and numerous metaphors is what makes them different. Every nook and corner of Jaisalmer is filled with several Sawai Khans who are trying to carve a niche with their individual uniqueness. This group has young and passionate folk musicians who are always keen to learn new aspects of their musical heritage.

 

The music is infinite, and the possibilities of his melodies are endless. Music itself is so vast that it cannot be confined to a textbook and standardized, as there are no set standards to learning music which is imbibed in his blood through generations. India is known for its colors and various layers of culture, and the culture of Jaisalmer is rich enough with harmonious melodies promulgating in unforgettable renditions. As Jawahar Lal Nehru says, “India is like a palimpsest”, with layers and layers of thoughts and reverie inscribed on it. Such is this music of Manganiyaars, which have layers and layers of voices, history, folklore, love and melodies. This land of Jaisalmer, which is so rich in history, music plays a vital role in shaping their livelihood, and their life in Jaisalmer. This is the music, the culture which deserves to be preserved since it’s a part of the intangible heritage, and a vital part of the socio-economic fabric of Jaisalmer.

Sidhar Music Group

“Give me some music; moody food of us that trade in love.”

As Lateef   Khan enunciates it: That music is like an addictive worship. Music has been the lifeline of this artist from the famous Manganiyar community of Rajasthan. Lateef   Khan, aged 38, lives in the famous Kalakaar colony of Jaisalmer, and his family has been the pioneers of folk music in Jaisalmer since generations, and he has been singing these folk songs since his childhood, he was brought up in a musical environment.

 

While explaining the meaning of Manganiyar, Lateef   Khan says that their families used to get rewards from royal Rajput families for their singing, hence the name Manganiyar is derived from the Hindi term “Maangna”, which means to ask. Lateef   Khan’s eyes light up with an exquisite shine while talking about music. Lateef Khan is an eminent songwriter himself and is fond of composing songs, these songs are based on several auspicious occasions, and describe the human feelings, emotions in a very subtle way.

 

In his songs, which are mostly played with Harmonium as a basic instrument, Lateef   Khan and his group members improvise on percussions with “Khadtaal”, while the time (taal) of the song is kept using two dholaks.

 

Lateef   Khan’s songs are composed in ragas like Malkaush(Malkauns). The name Malkaush is derived from the combination of Mal and Kaushik, which means he who wears serpents like garlands — the god Shiva. Other ragas which are used in his compositions are “bhairava shahi”, “Megh”, “Hindol”, “Deepak” and “Shree” and are set to “Kairvan taal”, a 6 beat cycle. Pictorially these ragas are always shown as males and each of these ragas has eight feminine consorts, always visually shown as females. They further have eight sons or ragaputras. These ragas used by Lateef   Khan also hints of influences from Guru Granth Sahib, According to the Guru Granth the first raga created by the Maker was Bhairav, and raga Bhairav had five raginis of which only the first, raga Bhairavi is known today and performed. The folk songs of Rajasthan have maintained the elements of Indian classical music despite the fact that they are freely composed and sung, knowing no rigid rules.

 

Lateef   Khan is greatly influenced by Sufi genre of music and cites the great Maestro Nusrat Fateh Ali Khan as his favourite. According to Lateef   Khan, folk music has a power which appeals to everyone. When asked about whether he is worried about the depleting number of folk musicians, he says that nowadays, people don’t understand the importance of folk music and are more oriented towards Bollywood.

 

Lateef   Khan and his group lose themselves in a trance as they were singing their enchanting music in a mesmerizing locale, at the garden of Jawahar Niwas. Their songs are mostly sung for various auspicious occasions like marriage and childbirth. Lateef   Khan’s songs combine love with the skill of music, and the result is a masterpiece.

 

Ho bhala jiyo bhala mhaare ghar ko maalik tu

(Hey spinning yard you’re the owner of the house)

 

Ho ho bhom charakhla mhaare ang dhoki lo tu, ho ho bhom charakhla hoye bhom charakhla 

(Hey great spinning wheel you provide me with clothes to cover my body)

 

Een charkhe re kaarane nandan ne paranaaye laalji nandan ne parnaaye mhaare hiwde hath dalaai

(Hey great spinning wheel, you feed the guest at my sister-in-law’s wedding)

 

Mhaare hiwde haath dalaai mhaare ghar ko maalik tu ho ho bhom charakhla  

(You gave me the courage to run my home, Oh great spinning wheel)

 

Lateef   Khan would like to carry forward these traditions of his family and impart this art to his coming generations as well, but like all his counterparts in this region, he also lays special emphasis on basic technical education for all. Lateef   Khan and his group members, Isaac Khan, Mohammed Nawaz, and Sawan Khan are skilled musicians describe music as a coherent and binding factor and vouch for their community and neighbourhood for providing a cooperative and friendly environment for sustaining this art.

 

For everyone who has lived, loved and lost, Lateef   Khan’s songs will appeal greatly as they cover a plethora of emotions.

“Haazir-ubareshon, laal bane na josho”.

 

I am waiting for my beloved, and I can look at him clearly if he walks slowly and gracefully.

For these artists, music is like an “Ibaadat” (worship), and this skill only improves with more and more practice. Some of the raagas are used in the purest form while some are used in combination. They also experiment with mixing various raagas like Malkaush and Bhairavi, much like a “Raagamalika” (a garland of raagas) in Carnatic music, blending them effortlessly to create more melodies. Over the years, these artists have helped in preserving and conserving this intangible heritage of the city of Jaisalmer, and this tradition should be continued with time. Truly, when love and skill combine, one should really expect a masterpiece, and Lateef   Khan’s music is no less than a masterpiece when it comes to explaining even the most delicate, yet heartfelt human emotions.