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Rajasthan

Taazaram and Group

THE VALOUR OF PABU JI RATHOD

 

A tale of the bravery of the famous legend Pabuji Rathod, presented by the old and the young, in the form of music and dance is an altogether different caravan. Taaza Ram belongs to the Bheel community which is widely comprised of bow men of Rajasthan or the tribals of Mewar. He plays a unique indigenous instrument Raavan-hatta, which he designs and carves on his own with coconut shells and horse hair. This instrument and ‘Pabuji ki Phad’ are the USPs of the Bheel community.

padhaaro jagdamba maata

Goddess Jagdamba, we request you to come

Jogmaya aale

Godess Jogmaaya, come and bless us!

pukaare apko bhopaa

The Bhopa summons you

Jogmaya aale

Godess Jogmaaya, come and bless us!

With a myriad of folk deities being worshipped as a ritual of narrating Pabuji ki Phad, every composition calls to praise and invoke different Gods and Goddesses. The most striking feature of the cult of Pabuji is its principal ritual. Singer-priests (bhopos) of Pābūjī perform a liturgical epic telling of the life, death, and avenging of their hero-god; these performances take place at night, typically in front of a paṛ, a long narrative cloth-painting simultaneously depicting the events of the story and serving as a portable temple to the deity.

The team discovered Lalla Ram Ji just out of sheer coincidence while heading to Bishala. He is an old and impoverished folk musician and belongs to a very poor household in the village. Lalla Ram lives with his wife and children grandchildren has learnt this unique art form from his father and uncle.

He has been performing this ritual for the past thirty-four years. Rajput people invite them for performing on auspicious occasions and even as a means of entertainment. Lalla Ram and his group also give performances on jaagrans. Taaza Ram Ji also works as a farmer and is sometimes compelled to do labour work as well at the time offseason. The season time is a couple of months of July, August. As a child, he was greatly fascinated by the bravery and valour of Pabuji Rathod. It is a renowned legend that Pabuji’s head was cut off when he had gone to rescue the cows from the invaders, but even then he had not stopped fighting. So he decided to carry forward his family heritage of recital of ‘Pabuji ki Phad’. He was also enchanted by the musical melodies produced by Raavan-hatta. So he came to know about a famous Raava-hatta player named Ruparam from Bhadka village. He then learnt to present this religious art form from his Guruji. He also made sure that his children learn to perform this art form.

Pabuji Ki Phad is a religious scroll painting of folk deities, which is used for a musical rendition of the only surviving ancient traditional folk art form, Phad painting in the world of the epic of Pabuji, the Rathod Rajput chief. Bhopas of Pabusar are the bards and also priests who are the traditional narrators of this art form. In villages of Rajasthan, Pabuji was considered an ascetic and hence his blessings were sought for veterinary services provided by his disciples, the Bhopas. This art form is popular in the Indian state of Rajasthan. Pabuji is also known as “the Ascetic Deity of Sand Desert”.

The three basic features associated with this art form are: the epic story of Pabuji, the Rathod chief of Rajasthan in the 14th century, who is extolled as an incarnation of Hindu God, and worshipped by the Rabari tribals of Rajasthan; the Phad or Par, which is a long scroll painting (or sewn) made on cloth, with the martial heroics of Pabuji richly displayed for worship; and the bard priests, known as the Bhopas (who belong to the cult of Pabhuji) of the nomadic tribe of Nayakas and specialists in narrating the story of the Pabuji in their sartorial best through the medium of the Phads used as a portable temple, all over the desert lands of the Thar in Rajasthan.

In villages of Rajasthan, Pabuji was considered an ascetic and hence his blessings were sought for veterinary services provided by his disciples, the Bhopas.

The chanted narration is in colloquial Rajasthani dialect. Bhopa is the main singer (narrator) who does it with an accompaniment of a musical instrument, called the ravanhattha (a desert zither or a spike fiddle with eighteen strings but without frets), which he crafts by himself.

Punmaram and Group

INSTRUMENTAL EUPHORIA: SOLITUDE OF THE RHYTHMS OF PAAVA

 

In our quest to explore the folk melodies of Rajasthan, we were overwhelmed to discover the hidden gems from a variety of communities, with each group exhibiting a unique flair in the realm of folk music. This venture took us a grinding twenty miles away from Barmer, to a remote village called Bishala. Fortunately, Lord Indra was kind enough that day, and we were welcomed with grey clouds and a cool breeze in the midst of the desert. Parched hills surrounding us on one side, and on the other, sheep grazing dry grass which seemed like green spots on a brown canvas. What a sight it was! In the middle of this aesthetic frame sat a 85-year-old man on a string cot, his eyes sparkling with fulfilment as he looked at his beloved instrument paava.

It was remarkable to see Punma Ram play paava with such ease since usually, a man his age surrenders to the inevitable loss of youth, but Punma Ram, looking so peaceful, made us all bounce along with his transitions in breaths seeming no less than that of a roller coaster. Listening to the tunes of his paava, one is catapulted back in time and can envision Punma Ram as a kid, wandering around with the shepherds and their flock, swinging to the euphonious chimes of paava and rejoicing about the simple gifts of life.

Paava, also referred to as Alghoza, is a pair of wind instruments made of wood. It is widely played by the Punjabi, Sindhi, Kutchi, Rajasthani and Baloch folk musicians. It consists of two inter-joined beak flutes: one for melody, and the second one for drone. A continuous flow of air is required as the player blows into the two flutes simultaneously. The quick grasping of breath on each beat creates a buoyant, swinging rhythm. This wooden instrument initially consisted of two flute pipes of the same length but over time, one of them was shortened for sound purposes. The instrument can be scaled to any tune using beeswax.

Punma Ram was born and brought up in Bishala and was barely 10 years old when he learnt to play paava from the shepherds. When he was a child, the shepherds in his village used to play this instrument while taking the sheep for grazing outside. Punma Ram was deeply influenced by this wind instrument and developed a great deal of interest in it. Gradually, he started mastering the art of playing hit, and now it has been embedded into his subconscious mind. He humbly stated that everytime he holds paava, he is unaware of the music that follows. While some tunes are from the bygone years of his adolescence, some spontaneously come to his mind at the moment.

He carves the wood for making his paava himself, using Sheesham or sometimes Rohida tree. The finishing touch is usually given by a professional who sits in the main village. Punma Ram feels that carving one’s own instrument is not an easy thing, it usually takes forty to fifty days to make an unfinished pair of paava. Often, tourists have asked Punma Ram to teach them to play but only a handful of them have patiently stuck to learning it, because of the difficulty encountered in doing so. Punma Ram and Padma Ram have never performed outside Bishala, they only perform in the neighbourhood for marriage occasions or other festivities. The pure and authentic art of paava playing still survives untouched, but the world is unaware of its soothing rhythms.

Punma Ram along with his nephew Padma Ram are the only two paava players left in the region of and around Barmer. This is alarming because none of their descendants has learnt this dying art. Their children have taken up jobs in small sectors and find comfort in their own lives. They have no interest in learning this art, primarily because it is cumbersome to learn, and requires selfless devotion to pursue it.

Punma Ram’s only child is his daughter, who has married off years ago and is settled in a neighbouring village. She seldom visits him. Punma Ram now lives alone in a thatched hut with almost no amenities of any sort. But his priceless art makes his entire settlement rich with soothing harmonious melodies.

 

Kishan Kumar and Group

SPIRITUALITY IN MUSIC

 

Music is regarded as one of the triumphs of human creativity. Plato once said that music “is a more potent instrument than any other form of education”. Good music has the power to affect you academically, emotionally, physically and spiritually. One is left with little doubt about this when he listens to Kishan Kumar. Kishan Kumar’s music is akin to magic.

50 years old and coming from a village named Matya Ka Tala in Barmer, Kishan Kumar belongs to the Meghwal community. He sings Bhajans with exemplary perfection. Being the eldest person in his family he is like the storehouse of all the songs and melodies that have been in their family.

Saamre ka naam re hazaar

The Lord has thousand names

kaise likhu kekuptari

By which name should I call you?

koi kahn kanha ji

Some call him Kanha Ji

koi kahe kisan ji

Some call him ‘Kishan’ Ji

koi kahe nand heera laal

Some call him ‘Nand heera laal’

kaise likhu kekuptari

Almighty, how should I call you?

Each bhajan he sings is a way for him to know God better. The themes of his bhajans range from contemplative to hopeful, triumphant to struggling, but all are meant to create a connection between him and God. He learnt music from his guru Dhori Mina. One can easily see his dedication to his art and the effort he has put into it when he recalls how he used to learn music as a child. ‘My guru gave me a book. Though I am not very educated, I would sit for hours and make myself learn those verses written in the book and practice them over and over again’ he reminisces. At the age of 12, his interest developed in music by going to the Satsangs and other events, some of which lasted all night. He listened keenly to the singers and tried memorizing their songs, imbibing their values and today at the age of 50, he even composes a few bhajans about Lord Ramdev and sings them in his own way. He wishes to inspire others to take his legacy of music forward, enabling the transfer of knowledge and tradition from one generation to another.

Kishan Kumar’s group consist of 6-7 members. Strikingly what makes them different is the fact that unlike other Meghwal groups in the region, his group is a consolidation of artists from other communities. They make use of a variety of instruments in their songs like veena, ghara, janja and thali. He plays the veena with the proficiency of a well-trained musician. Another element of their performance that makes them stand out is the Thali Nritya, a dance executed with thali (plates) held in hand, which this group performs. Such is the aura of the entire performance that it can easily pull crowds in. Together with his group Kishan Kumar has performed in villages like Chotan, Djorimana, Bijriyad and in temples in Barmer. Even if the desire to perform for a larger audience in states other than Rajasthan still seems far-fetched, nonetheless lack of opportunities do not discourage them. However, he still feels that their contribution to their land and culture needs to be valued more. He is confident that if given a chance people will understand the power and value of their music and will be able to connect to it.

chhoti chhoti gayiyan chhote chhote gwaal 

Amongst small cows and little shepherds

chhoto so mero madan gopal 

There is, my beloved little Krishna

As he begins to sing with others he does not mind the scorching weather nor complains about anything. One can see him go into a trance as he shuts his eyes and gets totally involved in what he is singing. As far as the listeners are concerned, they seem charged up.

He tells that every group has its own speciality, his only contempt, however, is for those who sing devotional songs but do not connect to the divine power spiritually. He has an understanding that many people take up this profession to meet their materialistic demands. He believes that this depreciates their talent.

We humans are equal. But even when we are built equal, our minds are different. Different minds have different strengths. For Kishan Kumar, strength lies in focusing on his music and he uses the gift he has been given to inspire people.  For him, his music is a doorway to enlightenment and he wishes that people would derive a greater sense of purpose from it.

Kehra Ram and Group

THE MELODIOUS MEGHWALS FROM SANPA

 

Kehra Raam is a 62 years old ‘young’ musician living in the Sanpa village of Barmer, Rajasthan. The team met Kehra Ram in Barmer and was pleased to see the happy and content faces of Kehra Ram and his fellow musicians in the scorching heat and soaring temperatures of Rajasthan. He has been into Meghwal folk music since a very tender age, and says ‘Even a newborn child in Rajasthan cries in Sur’ since birth’. His grandson’s innocent laugh enthusiastically gave a nod to Kehra Ram’s statement.

He has a large family of 9 people: his mother, son Ganga Ram, wife Gayidev, along with other members. Kehra Ram is associated with the Meghwal tribe of Rajasthan, which comes under the scheduled caste. He enlightened the team about how Baba Ramdevji has always looked after the Meghwal tribe, as a guiding angel. Kehra Ram was not able to complete his education because of financial instability, but always had a deep interest in music: he learnt songs from old books and memorised some after listening from others in his own family and community. His group members are usually family members or people from his community.

Kehra Ram’s interest in music heightened primarily because of his father and uncle, who inspired him to explore the avenues of religious folk music. He sings bhajans and plays tandoora, which is a folk instrument similar to Veena. The tandoora is more popularly known as the Chautara or Nissan and is a commonly played, five-stringed drone instrument. It accompanies devotional music and is a variation on the Ektaara which is one of the oldest string instruments. Tandoora is made from wood and its base is usually constructed out of the dried gourd. It is strewn with four strings that can be tuned to different pitches to the convenience of the player and the instrument is played with two fingers. The Manganiyar Meghwal, Nath Jogi and Meerasi Bhajan Mandali (devotional singing groups) in parts of Rajasthan commonly use this instrument.

Kehra Ramji has studied till the fifth standard. He used to work as a labourer earlier. He learnt hymns because of the tradition, and to some extent also because of his own inclination towards religious and devotional music and worship of Ramdevji. Kehra Ram has been performing for the past 36 years and has been deeply involved in the music. His never-ending quest to learn new instruments is simply commendable. Besides tandoora, he can play harmonium and dholak.

Kehra Ram, sometimes, plays Rajasthani folk music, but not much because according to him, he, as a Meghwal, tends to get shy while singing the regional folk songs. He finds more comfort in devotional music dedicated to the Gods and Goddesses, and how we, as human beings, should tread the path leading to the ‘Absolute Truth’.

Kehra Ram along with his group members usually performs Lok Devta’s bhajans for ‘Satsang’, and as per the tradition followed by Meghwals, distributes ‘prasaad’ after the auspicious ceremony of completion of the ‘Satsanga’. The word ‘Satsanga’ is the combination of the two words ‘Sat’ and ‘Sanga.’ ‘Sat’ means existence absolute, which is Brahman. ‘Sat’ is the essential nature of Brahman which is permanent in things that change, which is the only reality that upholds the world of appearance.

The glow and power of ‘Satsanga’, association with the wise, saints, Yogis, Sannyasins and Mahatmas is indescribable. Even a moment’s company is quite sufficient to overhaul the old vicious Samskaras of the worldly people. The magnetic aura, the spiritual vibration, and the powerful currents of developed adepts produce a tremendous influence on the minds of worldlings.

ghayal jo mai ghumti firu re

I have been injured

sarangi mare koye

Because I have lost all purpose and happiness

These lines from Kehra Ram’s bhajan about Meerabai talk about her misery, her desperation and her pursuit of Lord Krishna, and how her life is devoid of happiness and meaning. Meerabai feels that everything is worthless without the light of the Lord.

With his immense devotion and determination coupled with ‘Bhakti Bhaav’, Kehra Ram stands out of the other hymn singers with his own style of singing.

Dana Singh and Group

An Amalgamation of Folk and Culture

 

The mere mention of Rajasthan brings to the fore royalty, culture, forts and its melodious folk songs. Each region in the state has its own folk entertainment. Of considerable significance are the devotional songs and the communities who render them. Dan Singh is a name that finds special mention in the music circuit of Barmer. Highly revered by his contemporaries, he is known for singing bhajans and other devotional Rajasthani folk music.

Dan Singh is from a small village in Barmer. Belonging to the Rajput community of Rajasthan, his music skills owe much to the influence of his uncle and tutor. As a young boy, listening to his uncle perform cultivated an aspiration in him to learn and popularize devotional music. Today he sings devotional folk music with a wide repertoire. Mira’s bhajan, Kabir’s couplets, excerpts from the life of Banna Nath ji are some noted elements in his music. Such is his devotion to music that even a tiresome job of an electrician could not keep him away from his art for long. “ I was fortunate to find a few people in my office with similar music interest as mine. We would get together and sing during leisure hours,” he recalls fondly.

As he takes his position next to his fellow musicians, the benign smile on his face and the feeble fingers tuning the strings of his tandoora can trick his listeners into thinking that the 82 years old Dan Singh has lost his charm but it doesn’t take him long to prove them wrong. With a single alaap, he can enchant music lovers to no end. When questioned about what keeps him motivated, ‘ Only a person with the desire to learn in his heart can truly master the nuances of music’, he answers with a smile. He wishes to foster a sense of respect for the traditional folk music and has succeeded immensely within his community to achieve the same through his passion and dedication. His co-artists who are from different age groups and have expertise over various instruments look up to him as a source of motivation and aspire to be like him in the future. For them, singing alongside Dan Singh ji is like the biggest accomplishment of his life.

At present, Dan Singh’s group has five members, who together play on various occasions in temples and on auspicious occasions. With most of the members belonging to the Rajput community, they stand out in the music circuit of Rajasthan that largely consists of  Manganiyars and Langas. Together they have performed all over in Rajasthan and some other noted Indian cities like Ahmedabad and Mumbai. Their musical compositions find the prominent use of Solath, Dhamaal, Malhaar among other ragas. They have expertise over various percussion instruments like dholak. However, the most intriguing among them all is the Tandoora. It is five-stringed drone instrument. It is a variation of Ektara which is one of the oldest string instrument.

Dan Singh beautifully explains that singing Bhajans for him is a way of keeping his soul pure. He further goes on to say that devotional music has the power to keep one from deviating from the path of righteousness. Through his Bhajans, he believes his express purpose if to explain the essence of love for God to himself and the audience.

Resonating with his beliefs are the following verses from his bhajan:

Manva Bhulo Jaave Re

Oh Human, you are forgetting me

Bhulo tu jaave re

Forgetting me, says the almighty

Ya  sadguru dev samjhave, raste kyun nahin aave

The Guru is explaining to him, to be back on track

Par nandiya mein bak bak bole

The ignorant human speaks incessantly, belittling others

Jeebh thakave re

You exhaust yourself unnecessarily?

Ye hari ko naam leve kyon garu naa lave re

You should devote yourself to the almighty

A delight to hear, there is no two ways about the fact that Dan Singh is unparalleled in his musical prowess. But what makes him mesmerizing is the simplicity with which he expresses his joy, happiness and contentedness through his songs. One can only but be inspired by his life and commitment to devotional music.

Hassan Khan And Group

Melodic tales of the Royals

“Amar raho Jaisan-nath
Girdhar ke pyare laal
Sheesh par teehare chaaje
Dwaar par teehare baaje
Ghanan ghanan ghanan ghor
Indra ke nagare”

Be immortal, Oh King of Jaisalmer,

Beloved of Giridhar

Your throne is made of sheesham,

And clouds shower their thundering sounds at your door

Like they do in Indra’s abode

The magical words written in praise of the royal rulers of Jaisalmer, beautifully interwoven with the use of metaphors pertaining to the land of Jaisalmer, form the crux of Hassan and Akbar Khan’s music. Each time before a coronation ceremony, these artists were commissioned to prepare songs especially for that occasion, a song dedicated to the upcoming Maharaja, the heir of the royal family. These royal families have helped these musicians in their upliftment since generations, and like all other musicians in Jaisalmer, music is a tradition in their family too.

These musicians are mainly darbar artists who have been singing for the royal families for 9 generations, and their songs are based on Raagas from Hindustani classical music. They do experiment with variations in terms of taal and raagas at times. The main instruments used for their singing are harmonium, khartaal(Castanet, 4 pieces of wood, played by hand),Ghadaa(earthen pot), and dholak for keeping time. Akbar Khan and Hassan Khan describe their musical ‘Gharaana’ as ‘Alamkhaana’ a titular head of hereditary caste Manganiyar and are professional singers and musicians who traditionally perform to their Jajman (Patrons) Rajput families. As per Akbar Khan, there are several royal ‘Alamkhaanas’ in Rajasthan, namely Jaipur, Bikaner, Jodhpur, Udaipur and Bhuj in Gujarat, but the most prominent one amongst them is Jaisalmer, also called ‘Jaisan’ in the local Marwari dialect.

These artists are singers as well as composers and have been composing songs for the royal families for generations. As Hassan Khan recalls with envy that most of these traditional folk songs were sung by women and described their longing to be with their men. But men long to be with their women too, as love is mutual. According to them, Jaisalmer is famous for its stone, sweets and its beautiful women. The women in Jaisalmer are enchanting and seem to weave a magic on their men.

When asked about the importance of music in their lives, Akbar Khan says “Music for them is like a protein for happiness”. It’s a divine art, used for story-telling. Their songs are sung in praise of the city, its Maharajas, as well as Hindu Gods and Allah alike, once again giving us a lesson in communal harmony and teaching us that Music is not confined to the boundaries of caste and religion.

“Man sarovar, madh pak
paras bhat supher

You are as huge as mansarovar,
And as beautiful as a paras stone

Miley hamsa chug maangna re…
To maanak Jaisalmer re..

The folk singers of Jaisalmer are like Swans(hamsa)

Who sustain their lives on pearls (A hamsa, as per mythology, eats only pearls-moti)”

These musicians are the lifeline of Jaisalmer. It seems that music is imbibed in these stones, arches and majestic ramparts of the Jaisalmer Fort. Each bastion is still embedded with these melodies which will last for a lifetime. Every grain of this vast Jaisalmer desert echoes of tunes sung and transmitted verbally to their children and grandchildren. This hereditary music is transferred by their forefathers and these musicians seek to transmit this knowledge to their children. So far, they have performed and toured in numerous places in India like Calcutta and Mumbai.

As per Akbar Khan, the disciples move ahead and the “gurus” stay behind, and there is no ‘Gharaana’ which is comparable to Jaisalmer in terms of sheer melodic grandeur. He firmly believes that the gen-next should regularly interact with the veterans, learn the true meaning of the songs that they have been reciting for centuries and keep the Guru-Shishya (Teacher-Disciple) system alive.

Over the years, traditions have changed and the demand for folk music has become less, and even many members of their extended families don’t learn this art. According to them, to encourage this art, training centres could be set up or a separate department can be devoted to musical learning in schools. They are even willing to volunteer in music schools if they are well paid and earn enough to sustain their families. ‘The privileged should help the poor’, as Akbar Khan puts it. For this, public participation is very important, but sadly, folk music is losing its importance over time. The “Dharohar” or the musical foundation is endangered. They also acknowledge the importance of basic technical education which is important to sustain oneself in these competitive times. To harness this musical knowledge for the upcoming generations, a drastic change in the paradigm is needed.

From songs ranging to marriage, coronation and childbirth, these musicians have contributed to the music literature of Jaisalmer greatly, and have surely set a milestone in folk music. These musical compositions celebrate the majestic aura of Jaisalmer in a truly poetic manner which appeals to everyone. Their journeys have been full of ups and downs, but their voices will surely echo in Jaisalmer for centuries. As the poet Percy Shelley quotes it:

“Music, when soft voices die,
Vibrates in the memory —
Odours, when sweet violets sicken,
Live within the sense they quicken.”

Their legacy will continue to haunt Jaisalmer long after they are gone, and their songs will still be sung on every auspicious occasion. This musical heritage deserves to be noticed more and should be promoted in a holistic manner. Recognition is necessary for resilience, and to promote resilience and self-reliance in these communities, we must realize the true importance of this musical aspect of the intangible cultural heritage of Jaisalmer.

Miley hamsa chug maangna re…
To maanak Jaisalmer re..

Champe Khan And Group

Raagas of human emotions

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

As Champe 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. Champe 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, Champe 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. Champe Khan’s eyes light up with an exquisite shine while talking about music. Champe 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, Champe Khan and his group members improvise on percussions with “Khadtaal”, while the time (taal) of the song is kept using two dholaks.

Champe 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 Champe 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.

Champe Khan is greatly influenced by Sufi genre of music and cites the great Maestro Nusrat Fateh Ali Khan as his favourite. Champe Khan trained under Ustad Lakhe Khan and has been in association for over 10 years with Kutle Khan. According to Champe 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. So far, Champe Khan has performed all over the world in countries like Spain, Holland, Belgium, London, and is all set to go to Austrailia in a few days.

When asked if the music is enough to sustain him economically, Champe Khan said:

“Khuda uthaata khaali pet hai, par sulaata nahi”

(God wakes you up hungry, but he makes sure that you never sleep hungry)

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

“Gori johe baat, Saajan likhliyo kore kaagaz ve,

Baachun ghadi ghadi”

I wait for my beloved, I write his name on a blank paper, and I stare at that paper endlessly.

Simple, yet profound and yet so deep. This is Champe Khan’s music which speaks volumes about the daily, and otherwise mundane human emotions, love, separation, the nervousness of an about to be a married woman, who stares fondly at her beloved would-be husband from her veil (ghoonghat). All these human emotions are beautifully captured and blended with the beauty of rare ragas.

“Kauno ragaj moti, main jheene ghungat joti”

The pearls which you wear in your ears, I am looking at them from my veil (ghoonghat) with admiration.

Champe 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. Champe 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, Champe 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 Champe Khan’s music is no less than a masterpiece when it comes to explaining even the most delicate, yet heartfelt human emotions.

Bagga Khan And Group

Melodies exploring the connection of Soul and God

“Let me lose myself in this golden city,

Amongst the golden sand dunes,

And the melody of the folk tunes,

To be intoxicated with the spirit of music”

In India, real talent is found in the dingy by-lanes, in the Old cities, and in this case, it’s hidden in this medieval city of Jaisalmer, and its golden sand dunes.

The artist, Bagga Khan, fondly known as Bagge, belongs to the famous Manganiyar community of Rajasthan. Manganiyars are Muslim communities in Sindh and Rajasthan areas and are famous for their classical folk music. They are the groups of hereditary professional musicians, whose music has been supported by wealthy landlords and aristocrats for generations. In 1978, Jodhpur-based musician Komal Kothari provided the Manganiars with institutional support, allowing them to sing outside the state for the first time. Currently, several Manganiar groups tour internationally. Bagga Khan(49) has been in Jaisalmer ever since he was 20 and members of his community were have been singers in the royal court since centuries. Their music genre mainly comprises of Bhajans and Sufi songs, which are based on verses composed by various mystics like Meerabai and Kabir.

Played on simple instruments like “Tandura” (a five-stringed instrument resembling Veena) and Harmonium, Bagga Khan’s songs speak about humanity and love. Most of these songs are composed in “Chautaal” or a 4 beat cycle. According to Bagge Khan, they experiment with various ragas like “Bhairavi”, “Surth”, “Jog” without losing out on the essence and spirit of the song.

As Bagge Khan quotes the famous poet Bulle Shah “Love is of two types, one is the unending love for Allah and one is the love which we share with each other”. And this love can be best expressed through music, as Shakespeare said: “If music is the food for love, Play on”.

While explaining why music is the most powerful thing in the world, Bagge Khan says that even the highest King, will bow down to the power of music and shake his head with the rhythmic melody of a song. The whole conversation with Bagge Khan reflected his passion towards folk music, which has been a tradition in his family since centuries, and his group members wish that their future generations also carry forward this tradition. So far, Bagge Khan has performed in many places in India and abroad but cites Kolkata as his favourite city to perform in India, and Paris if we talk about the western counterparts. These performances are the main source of income for him and his family.

“Maan khero laavo leeje, mili nahi baaram-baar”

Life as a human is precious and one should use it to the fullest, as “life as a human” is granted only once.

As Bagga Khan and his group start singing, they lose themselves in a trance, a trait, which is often seen in passionate and skilled artists. Music, as Bagga Khan says, is a devotion. And one who has the knowledge of “shabd” (wisdom) by Guruji, can attain every possible thing in this universe. Bagga Khan’s eyes are filled with passion and love for his art, and he believes that humanity is worthless without humanity, he firmly believes that God gives you a “life as a human” only once. He and his group members take pride in their cultural heritage and would like their upcoming generations to carry on their traditions. While music is the primary source of livelihood for him, Bagga Khan also speaks that there should be an emphasis on technical education for the young generation, owing to the depleting demand of these folk artists.

Even though Bagga Khan is a Muslim, he has been singing devotional bhajans dedicated to Hindu Gods since a very young age. His music is beyond religious boundaries and the possibilities are unfathomable.

As Bagga Khan tunes his “Tandura”, a five-stringed instrument closely resembling veena, he is joined by his group members, Thane Khan on Harmonium, Mushtaque Khan on Dholak, and Prabhu ram and Dev Ram as accompanying vocalists. Music is a coherent factor which binds them together, and their songs speak volumes about human compassion, living and a spiritual way of life.

“Paapi milijo pachaas, nuguru miljo mate”

Fifty sinners are better than a person without a mentor (or a person who is headstrong).

Bagga Khan’s songs have a special emphasis on the possession of knowledge or “shabd” provided by the “Guruji” (God). In one particular song, based on Kabir’s couplets, Bagga Khan talks about how fifty sinners are better than a person who does not have a mentor or a guru. The relationship between a God and his disciple is a tender one nourished through sharing and spreading the knowledge wisely, and one should keep doing deeds which are as pure as diamonds and emeralds.

Even though Bagga Khan and his group member’s lives hasn’t been very smooth, yet, there is always an expression of contentment on their faces. Such content and satisfaction come through the pursuit of true passion and their devotion to their art. Their music group is invited to sing by the Royal families on all auspicious occasions in their palaces, ranging from childbirth to marriage. Bagga Khan and his group have set a milestone in the realm of classical folk music in India, and moreover, they are an ideal example of how music is free from the boundaries of caste, creed, culture and religion. Music is something which connects the soul to mind and recognises Godliness in every living being.

These golden grains of Jaisalmer and are interspersed with musical talent in every nook and corner, amongst the other aspects of the social fabric of the city as well as the “Living fort” of Jaisalmer.

Gaffur Khan And Group

Embedding Fragrance of Culture in Sufi

 

As Gaffur 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.

Gaffur Khan is 56 and belongs to the Maanganiyar community of Rajasthan, a community of folk singers who were the musicians in the Royal court of Jaisalmer. Tutored under Ustaad Nihaal Khan, Gaffur Khan has been singing since he was 8 years old, and has been the recipient of Radio Station Aakashwani Rajasthan Award too. Like all musical families, music has been transferred through the generations in his family, and he drew his inspiration from his father. So far, Gaffur Khan has performed in about 40–45 countries and wants his children to continue this tradition of the “Guru-Shishya” (Teacher-Disciple) parampara(tradition).

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! Everyone in this group is A-Grade certified artists as per All India Radio. His group also comprises of Mushtaque Khan on Dholak and Feroze Khan and Dilawar Khan on Khadtaal, and three kids, Aaraf Khan, Roshan Khan and Insaaf Khan.

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. While he has performed in many countries to date, his favourite place to perform in Paris.

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. Gaffur Khan also takes music workshops in training camps. His musical themes are deeply inspired by and embedded in the culture of Jaisalmer.

Sundar yun bhi rang mahal mein
Rann mein yun..
Rann mein.. mukhdo
Din din sukho jaayein
Dushman ki kirpa buri
Bhali sajan ki thaath
Dhomat pe garmi hove, oh rey..
Jab barsan ki aas.

The rang mahal stands beautifully in the ran(desert)

As the colour of my face fades away…

The foes have evil intentions,

While my beloved has only love,

The sun spreads a blistering heat,

And I long for the rain..

(a woman waits longingly for her husband to arrive with the rains)

The longing of a woman, along with the patient wait for the monsoons after the blistering Jaisalmer heat, the onset of seasons is a major theme in the Manganiyar songs, interwoven and blended with feelings of love, pain, and heartbreak. The transition between the songs is beautifully described when the cuckoo bird sings. Since Rajasthan primarily has a hot climate, the varying seasonal changes are as important to its residents and folk singers as music.

Maas syaro, seehadalo pade
Seerakh paththar no, lijiyo thaare saath

It’s the winter season, so take a blanket to cover yourself (to protect from cold)

Maas laado, luhad le pade
Jhaari ne, peenjaniyon lijiyo thaare saath

It’s the summer season, and the hot summer wind (loo) blows,

So keep a lot of water and a fan with you!

One could almost smell the aroma and fragrance of the first rain while hearing these melodious tunes. 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.

Meetho meetho bol papiha,
Pyaare pyaare bol

Sakur Khan And Group

Melodies of the golden desert

Some 10 km from the city of Jaisalmer, there is a quaint, small town known as Satto, where Sakur Khan hails from. Sakur 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.

Satto Khan’s inspiration has been his uncle, Nazeer Khan and he wants this art to pervade into the future generations. Satto Khan belongs to the Alamkhaana gharana of the Manganiyaars. He has been singing since the age of 8. Simple, humble and not very talkative, Satto Khan explains about his music with a sense of calm, and with a composed articulated manner.

As he talks about the Alamkhaana history, Sakur 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.

This 36-year-old also teaches in Gunsaar organization, set up for musical training of the Manganiyaar community. 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.

“Karne waala upar waala hai”

The Almighty is the one who does everything.

True to his words, when he sings, it seems that the Almighty himself resides in his voice. Some of his songs, as he recalls, are more than 100 years old, and has pervaded through generations by musical teaching and training. Music is imbibed in Manganiyaar families since the beginning of a newborn. He sings with a powerful and moving voice as his fingers began to play on the harmonium.

Like other Manganiyar singers, his songs too have a varied range of themes, from childbirth, marriage, sweet conversations between a husband and his wife, and the transition of seasons. It’s really appalling to enhance these elements of nature through poetic words and songs.

These songs beautifully convey the emotions of women, who wait on for their husbands or lovers who promised once to come back to them soon but are far from their wives in search for material prospects. On the occasion of “Teej”, a festival in North India to celebrate the arrival of monsoons, these women gather in a group and sing songs dedicated to the rains, while simultaneously recalling about the ‘false promises’ their spouses made to them.

Aavan jaavan ro keh gayo
Kar gayo, kawal anek
Baalam ji mhaara jhirmir barse megh
You told me you will come back,

You made many false promises and you have lied to me. (kawal=lies, anek=many)

Oh my beloved (baalam ji), the clouds are pouring the heavy rain!

Likhe likhe kaagadiya
Dhola jeela, melan babuderi daakh
Baalam ji mhaara jhirmir barse megh

You wrote me many letters with promises of coming back,

“Dhola jee”, I have waited for you during all this monsoon season

Sakur 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.

Bola illibor, jhoombad jhaintan
Bulo paayo naak bichre

My nose ring, the ornaments on my forehead, and my jhoombad(ornaments in the ear),

Whom can I show all this “sringaar”? (The beautification of the face)

Raag Desh is one of the important raagas in Manganiyaar folk music. Sometimes this raga is used in its pure form, while at times, its derivations are used. Raga Desh in Hindustani classical is mostly used to invoke a sense of patriotism, a sentimental patriotic feel. Most of these songs are composed in “Kairava” taal.

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 Sakur 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 Sakur Khans who are trying to carve a niche with their individual uniqueness. 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.