[Reader-list] Harballabh Sangeet Mela of Jalandhar - 'post 2'

[Naresh Kumar]

Hi all,
A topic like music festival can be studied both synchronically and
diachronically but it is essential to have the knowledge of basic
primary facts about the subject taken for scrutiny. So this posting
will concentrate upon the factual information regarding its founder,
torchbearers, its organizers, patrons etc. In addition to it we will
also discuss what changes came in it with the time and what has
emerged as a tradition.
The first question arises who this Baba Harballabh was. Baba
Harballabh, the founder of this glorious tradition of Sangeet Sammelan
was born in the later part of 18th Century in village Bajwara, in
District Hoshiarpur (Punjab). Bajwara is a small historical village,
named after Baiju Bawra1, the great singer of India in Akbar's time.
His maternal grandfather, Pandit Jwand Lal Jyoti brought him to
Jalandhar because Harballabh lost his parents in his early childhood.
Here he came under influence of Baba Tuljagiri, a great saint, a
sanskrit scholar, a great exponent of Dhrupad style of classical music
and the 'mahant' of Baba Hemgiri's 'Gaddi'2 who used to live in a
temple at Devi Talab. Swami Tuljagiri initiated his disciple
Harballabh into the learning of the Holy Scriptures, Sanskrit and
Music. He took formal lessons of music from Pandit DuniChand.
Recognising the extra ordinary qualities in his disciple, Baba
Tuljagiri named Baba Harballabh as his successor to the 'Gaddi'.2
In the year 1875, on the first death anniversary of his great Guru
Baba Tuljagiri, Baba Harballabh thought the best way to pay his homage
would be through music. Baba Harballabh decided to hold a memorial
ceremony where Sadhus and Saints were invited to sing devotional
compositions at the Samadhi of his guru. The ceremony started with
Hawan3 Yagya at the Samadhi followed by Langar for Sadhus, Saints,
faqirs, and devotees, poor & needy. Sadhus and Saints sang Bhajans in
the traditional Dhrupad style through out day and night sitting around
bonfire in the biting cold weather of December. The congregation
lasted for two days. Such like congregations became a regular yearly
feature year after year. Sadhus came in large numbers to pay their
homage to Baba Tuljagiri. Although the fame of this Sangeet Mela had
spread far and wide yet only Sadhus and Saints were invited to sing at
these congregations. Baba Harballabh attained his Samadhi in 1885.
After Baba Harballabh attained his Samadhi in 1885, Pandit Tolo Ram, a
devoted disciple of Baba Harballabh succeeded to the sacred "Gaddi".
Pandit Tolo Ram belonged to a well-to-do family of Jalandhar. He was a
simple and austere Brahmin who led a life of purity and devotion. He
built a "Samadhi" of Baba Harballabh to perpetuate his memory. Pandit
Tolo Ram kept the tradition alive by holding Sangeet Sammelan every
year in the memory of his Guru's Guru but now the annual gathering
came to be named after Harballabh himself rather than his Guru. He
made some innovations also. Along with Sadhus and Saints, he started
inviting the singers from the region. In addition to Punjab the
singers from the other parts of northern India were called to sing in
the gathering. So it was during Pt. ToloRam's time when the popularity
of this annual celebration increased and Jalandhar came to be known as
a great seat of Indian classical music.
Pandit Vishnu Digambar Puluskar visited Harballabh in 1908. Pandit
Vishnu Digamber's visit added new dimensions to the Sangeet Sammelan.
Its popularity touched all corners of the country. So much so, that
the musicians would consider it their proud privilege to participate
in this Sammelen. It was a great honour and a testimony of merit for a
musician to present his art from the stage of the Harballabh Sangeet
Sammelan. Even the great musician Pandit Omkar Nath Thakur who scaled
new heights of glory in the field of Indian classical music had to
produce the Harballabh's Testimonials of merit before being allowed
to, give his performance before the Maharaja of Kapurthala. After
Pandit Vishnu Digamber's visit, Pandit Tolo Ram gave serious thought
to inviting musicians from all over the country and for this purpose
he undertook a journey throughout India and invited renowned singers.
Participation of stalwarts like Sarvshri Bhaskar Rao, Ram Krishan
Shankar, Pandit Bala Guru, Pandit Omkar Nath Thakur, Shri Mohammed
Khan Sarangia, Bade Gulam Ali Khan, Imdad Khan, Pandit Ravi Shankar,
Ustad Vilayat Hussain Khan added new grandeur to the Sammelan.
Until 1922 the entire organisation of the Sammelen was concentrated in
the hands of Pandit ToloRam. However Pandit Ram Rakha Ram, Pandit
Dogar Mal and Shri Arjan Dass who were his close associates helped
Pandit Tolo Ram in making the arrangements since with the ever
increasing popularity of the Sammelan, it was becoming more & more
difficult for Pandit Tolo Ram to make the arrangements
single-handedly. Thus, the necessity of a regular committee to look
after the arrangements was felt. There was no dearth of enthusiasts
who came forward willingly & voluntarily to co-operate with Pandit
Tolo Ram. Pandit Jagan Nath Parti, a teacher by profession, an ardent
lover of music and a devotee of Pandit Tolo Ram was appointed the
first secretary of Baba Harballabh Sangeet Mahasabha. Rai Bahadur Devi
Chand became the first President of the Mahasabha. Shri J.N. Parti
remained secretary from 1922 to 1964. The fact that he remained
secretary of the Mahasabha for a long period of 42 years, speaks
volumes about his dedicated and sincere services to the cause of the
Sangeet Sammelan. Pandit Tolo Ram remained the main spirit behind the
Sangeet Sammelan, which was the great mission of his life. It was the
vision and foresightedness of Pandit Tolo Ram that carried the
Harballabh Sangeet Sammelan to the zenith of glory. The Sangeet
Sammelan grew absolutely into a secular, non-sectarian institution and
singers irrespective of caste, colour, creed and nationality have been
participating in it year after year. Pandit Tolo Ram turned this
tradition into a unique institution during his lifetime.
After Pandit Tolo Ram breathed his last in 1938, Pandit Dwarka Dass, a
great devotee and disciple of Pandit Tolo Ram succeeded to the sacred
"Gaddi". Although Pandit Dwarka Dass carried on the tradition till he
breathed his last in 1952, yet after about six years after the death
of Pandit Tolo Ram he nominated Seth Hukam Chand and Sh. Ashwini
Kumar4 as Trustees of Baba Harballabh Sangeet Mahasabha Trust to look
after properties of the trust situated in Devi Talab.
After the sad demise of Seth Hukam Chand in 1954, Sh. Ashwini Kumar
I.P., Former Director General, B.S.F. is the sole Trustee of this
Trust. Ashwini Kumar, a great lover of Indian classical music,
nurtured the Mahasabha and raised its stature to being recognised as
one of the best Sangeet Sammelans in the world. Modern outlook, while
keeping the old traditions intact, is what brought forth the
transformations in the Sangeet Sammelan. One such transformation was
to invite great female artists to the sammelan; as all along women
were neither allowed to perform on the Harballabh stage nor were they
allowed sitting amongst the audience. Meticulous management of the
event, best artists, well organised functions, unprecedented number of
music lovers from all over India attending the Sangeet sammelan, live
coverage by All India Radio, wide coverage by the print and electronic
media were some of the highlights of sangeet sammelan during the time
Ashwini Kumar was actively involved in the organisation of the
sammelan. Here it is also worth mentioning that the present day
magnificence of Devi Talab Mandir took shape in his Mahantship only
because he mobilized the industrialists and the common people of the
city to get the renovation done. Ashwini Kumar continues to provide
patronage, inspiration and guidance, to the current team as the
Chairman, Trustee and as an ardent devotee of this sacred seat of
music.
As it has been already written above that the Harballabh Sangeet
Mahasabha was formally founded in 1922. Rai Bahadur Pandit Devi Chand
was appointed as the founder President, Shri Mushtaq Rai Sood the Vice
President, Shri Jagan Nath Parti the Secretary and Shri Sant Ram
Ahluwalia was appointed as the Treasurer. Mrs. Geetika Kalha was the
first woman to preside over the Mahasabha. Padam Shri Vijay Kumar
Chopra is currently serving the Mahasabha as its President. Mrs.
Purnima Beri is presently the General Secretary, Jyoti Mittu, the
joint secretary and Rakesh Dada is serving as the treasurer of the
Mahasabha.5
Every year the Sangeet Sammelan starts with Hawan Yagya being
performed in front of Baba Harivallabh's Samadhi and distribution of
"Prasad" thereafter. No entry fee is charged. The musical renderings
always commence with shahnai recital. Dhrupad singing is an integral
and inseparable part of this Sangeet Sammelan. Every year at least
one, artist is invited to sing in the traditional Dhrupad style. The
artists come from far and wide to pay their homage to the great master
and to seek his blessings. The Sammelan takes place in an open
pandal.6 The Sangeet Sammelan still upholds the great Baithak Style,
where the audience sits on the ground and the artist is given an
elevated seat true to Guru-Shishya parampara.
Only vocal artists attended the Sammelan up to the year 1929.
Vichitter Veena was introduced in the Harballabh stage by Mian Abdul
Aziz of Patiala Gharana, Sitar by Ravi Shankar, sarod by Amzad Ali
Khan and flute by Shri Panna Lal Ghosh.

Raga Bahar and Basant have been very popular amongst
Harballabh-listeners. There used to be the time when every singer used
to sing at least one composition in Raga Bahar or Basant. Even today
either of the above mentioned raga is sung as the last composition and
people sitting on the front shower flowers on the artist. In chilly
winters of December ending the sammelan with the ragas of spring have
certain denotations.7
Ever since Pandit Vishnu Digamber Puluskar started a tradition to
conclude the Sangeet Sammelan with National Song -Vande Mataram, the
Sangeet Sammelan culminates with the group singing of Vande- Mataram
by the audience and all the artists present. The dates8 for the next
festival are announced before the audience leaves the Pandal.


Notes:-
The fact the village has been named after Baiju Bawra is bit doubtful
because I have not come across any reference, which suggests that
Baiju belonged to Punjab. Moreover, there is more than one Bajwara in
my knowledge. Sec.22 [d] of Chandigarh is also known by the same name.
The sacred seat, which is transferred by the guru to his disciple. It
is believed that with 'Gaddi' given all the powers will automatically
come to the successor.

It is the Hawan which is regular till date. That's why the organizers
claim that the festival has been going on without any gap since last
130 years whereas there was no musical performance in 1984 due to
terrorism in Punjab. Up to 1988 the sammelan shrank into a small
gathering of local artists with very few listeners.
At present he is staying in Delhi. Due to bad health he did not come
to the festival. I will try to visit him at his residence.
In my final paper I will write on Mahasabha at length. In one of my
further postings I will send the interviews of Mrs. Beri and Mr. Dada
that I took.
Pandal means tented space. Last year the owner of Punjab Kesari has
donated Rs. 1000000 for building the hall.
Concluding the sammelan with Raga Bahar has fascinated me a lot. I
will entitle my audio-documentary, "The Spring Is Not Far Behind".
Earlier on Dec.26-29th used to be the fixed dates but these days the
last Friday, Saturday and Sunday are fixed as dates of the festival.
This year the sammelan will be held on 22-24th December because the
last Sunday will be the New Year eve.
thanks

Naresh