[Reader-list] Book Review - The Traditional Music of Kashmir

[Pawan Durani]

Book at:
http://koshur.org/music/articles/pdf/musicofkashmir.pdf

Dr. Sunita Dhar's webpage at:
http://koshur.org/music/sunitadhar/

The Traditional Music of Kashmir
By Dr. Ramesh Kumar
Music, from times immemorial, has remained the most important medium
of expression of human emotions. Kashmir, Mathura and Benaras, in the
bygone times, were prominent centres for learning art. Due to ravages
of time all the written evidence regarding the kind, type and form of
music prevalent in Kashmir in the distant past has perished. We can
only surmise about the notations and grammar of music which was
prevalent that time. The task of preparing a comprehensive
historiography on music of Kashmir has thus remained a difficult one.
However, some styles of music and singing e.g. temple Sangeet, Shiv
Gayan and traditional folk music survived the upheavals and persisted
to interest on account of their sentimental appeal and emotional
attachment. These styles of music are continuing even now as a
distinct genre and as a tradition of Kashmir. There are also stray
references in old classics like Nilamatpurana, Rajatarangini etc.
'The Traditional Music of Kashmir--in relation to Indian classical
music'. by Prof. Sunita Dhar fills an important gap in preparing an
authentic historiography of music of Kashmir. It is the first serious
attempt to study the extant forms of music in a historical
prospective. The advantage of being an 'Insider' has imparted a touch
of originality to the work. Presently, Prof. Dhar is Dean of the
Faculty of Music and Fine Arts at Delhi University. She has been
trained by Padmabushan Pandit Debu Chandhuri.
Historical Overview :
In ancient Kashmir, as in other places, the temples used to be
important places for learning music and singing. Dancing girls used to
perform in these temples. The author makes a statement of fact when
she remarks that during ancient period "one does not find any
difference between the music, art and culture of Kashmir and that
prevailing elsewhere in rest of India".
There is archeological evidence, which points to the existence of
singing and dancing in Kashmir. Tiles and some sculptures, excavated
during Harwan excavations bear the pictures of dancing and singing
persons and also of the ladies playing on the rhythmic instrument
(drum). Another person is shown playing a Veena in an artistic
pastime.
Nilamatpurana, a sixth century Mahatmya provides details about the
festivals, in which musical concerts and dips in the river Vitasta and
collective singing in the evenings featured.
Rajatarangini mentions about the royal patronage to music and about
the art of music. It also talks about the musical instruments in this
region in distant past. According to Pandit Kalhana, its author the
folk musical instruments like earthern pots, brass vessels etc. were
used by Kashmiri people from very early times. He mentions an
instrument called "Hadukka", which can be compared to a big pipe. The
ancient musical instruments, used in Kashmir, had been more or less a
reflection of Indian musical instruments in usage during that time.
King Harsa of Kashmir was an expert linguist and a poet too. He had a
taste for music and composed songs. The king introduced Carnatak music
to Kashmir. King Bhiksacara (1120-21 AD) himself played on musical
instruments. He was fond of 'Chhakri', a form of choral singing,
popular even to this day.
During the past millennium, Kashmir suffered heavily on account of
external incursions and internal turmoil. Music and fine arts too
suffered a blow in 11th and 12th century, when a Tartar adventurer,
Dulacha invaded Kashmir. It led to anarchy and economic depression.
Sultan Sikandar, 'the Iconoclast, at the behest of his alien advisors
banned all forms of music and dance. Kashmir was impoverished
culturally. Srivara, a contemporary chronicler avers that the Sultan
destroyed all the literature and material extant on the subject of
music.
It was Kashmir's good fortune that Sultan Zain-ul-Abdin ,who reversed
all the policies of his father, ascended the throne. He and Sultan
Hassan Shah revived the policy of royal patronage to music and fine
arts. Srivara, an accomplished artist and a great musician was
appointed Head of the department of Music. The great musician used to
sing vernacular of Persian songs for the entertainment of the king. He
and other talented musicians of Kashmir visited far south and other
parts of India to interact with their counterparts.
Sultan Zain-ul-Abdin invited artists and musicians from Iran, Turan,
Turkistan and Hindustan. He offered them good prospects and
concessions to settle down in Kashmir. Avenues were also found for
adopting and including various Ragas and Raginis of Indian music.
Srivara himself writes that the singers from Karnataka sat gracefully
before King Hassan Shah as if they represented the six tunes namely
Kedara, Ganga, Gandhara, Desha, Bangala and Malva.
Sufiana Music :
The entry of Irani and Turanian musicians saw the emergence of a new
form of music, which came to be known as Sufiana Mosiqui. This form of
music has its style borrowed from Persian music and is played with
musical instruments quite different from those used for Indian
classical music and Kashmiri folk music. The author tells us too
little about how this music evolved in the cultural clime of Kashmir.
Is this a product of syncretic interaction between Kashmir's own
traditional music and Irani-Turanian music or simply a transplantation
of Irani-Turanian music and the soil of Kashmir? When on listens to
Tajik music, one can hardly find any difference.
Dr Sunita Dhar's excellent monograph on the traditional forms of music
and the musical instruments in vogue in Kashmir offers much to the
casual reader as well as the serious scholar of Kashmir's music.
The author divides the traditional music of Kashmir into four
categories-songs sung by women folk, minstrel, farmers and religious
songs.
Songs sung by women :
Vanvun, a prayer in the form of music has played a leading role in
maintaining the continuity of our culture. Its subjects refer to the
events of vedic period. It preserves our faith in spiritual and
ancient beliefs. Vanvun, Veegya Vacchan, Hikat and Vaan are songs sung
by women folk of Kashmir. The author divides Vanvun during 'mekhal'
(Janev) and marriage ceremony into ten categories--Garnavaya (house
leaning and washing), Dapun (personal invitation of guests for the
approaching function), Manzirath (heena dye and night singing), Kroor
(after a white wash flowery decoration at the main door), Shran
(sitting on stool and dropping milk, curd and bathing), Devgun
(welcome to vedic gods), Varidan (gifts to the relatives), Yonya (holy
fire), Tekya Narivan (holy mark on the forehead and sacred thread tied
around the wrist), Kalash Lava (after the worship of Kalash,
sprinkling of water). Dr Dhar provides samples, along with meaning, on
all these forms of Vanvun. She traces the vedic origin of such customs
like wearing of Kalpusha-taranga by Kashmiri women, Zarkasaya, Veegya
Vacchan. For example, in vedic period, when Goddess Sinnavali's (one
of the thirteen wives of Sage Kashyapa) marriage was performed, God
Poosha had prepared a beautiful headguear to, decorate her head. This
was called 'Kapal-apush' in Sanskrit. Lord Indra, beautifying it
further, had wrapped a white strip of cloth around it. This custom is
followed today by Kashmiris as a routine. 'Kalpush' in Kashmiri, is
'Kapal-apush' in Sanskrit. The white twinkling strip is 'Tarang-Kor'
in Kashmiri. While putting on this head gear, ladies sing to bride.

'Pooshan Thovnaya Sinnavali Devi

Cheh Koori Thovnaya mael maleh'

Meaning: Vedic God Pushan himself prepared 'Kapal-apush' and decorated
it for the head of Sinnavali, but in your case, your father and mother
have put it on your head.

'Zarkasaya' (mundan) has originated from Jatanishkasan in Sanskrit,
i.e. removing hair and making the child bald. Devgun has originated
from 'devagaman' in Sanskrit, which means the arrival of God. 'Veegya
Vacchan' has originated from a vedic word, 'vishesh yog vacchan', i.e.
to be sung on a special occasion. In this vanvun, bridegroom or the
boy whose 'Yagneopavit is being performed stand on Vyug, a round
shaped drawing designed with different colours.
'Ruf' an emotional type of folk dance is sung during spring. It is
mentioned in Nilmatapurana. According to Prof. Dhar it might have
originated from 'dwarf dance', of Vedic language. In Vedic language,
it means a bee, which further developed as Ruf. Earlier, even Vaksh of
Lalleshwari were sung in question-answer form in the 'Ruf'.
"Hikat" is a form of 'raas'. Reference to it is found in writings of
Bhatt Avatar. Nund Rishi too was acquainted with it. This has
originated from 'hi-krit', i.e. any piece of work done Joyfully.
'Vaan' singing is performed during occasions of grief. In olden days,
an old professional singer, 'Vangarinya' in Kashmir used to visit on
the day of the death. He would enquire about the names of the
ancestors and family members etc. and sing till the tenth day.
Lalnavun is a type of folk song and is based on Vatsalaya Ras. During
medieval times Muslims styled their Vanvun singing as different from
Hindus. In Vanvun of Kashmiri Hindus a medium tone is used and there
is no element of tribal music in it. In Muslim Vanvun fast tone is
used. The quantity of Hindu Vanvun poetry is much more than that of
Muslims. The latter divide themselves into two groups; one group sings
a line, which is repeated by the other. They generally sing standing.
A similar type of group singing is prevalent in Kumaon and Garhwal
hills.
Songs sung by Minstrels :
Songs sung by minstrels, professionals include those sung by Chhakar
singers, Bhands and Ladishah singers. The author traces 'Bhand Paethar
in history and provides a detailed account on how it is performed.
'Ladishah' is a satirical song, which reflects the society's
condition. According to Prof. Dhar 'Ladi' means a row or line-'Shah'
has been added after the advent of Muslim rule.
About Chhakari, the author says that it owes its origin to Rigvedic
'Shaktri'. In Aryan culture, chorus singing after deva-yagya was a
common practice. According to late Mohan Lal Aima, 'mantrya mand's
ghada instrument originated 'Chhakri'. Bachhi Nagma was previously
known as 'bacchi gyavun'. During Pathan rule nagma, an arabic word was
added to it. The dress of a Bacchi Nagma performer matches that of a
'Kathak' dancer. References to this form of singing is found in
Nilamat. Rishi Macchar is another type of singing, performed by
minstrels. 'Rishi Macchar' is derived from vedic 'Rishi + Mat+har i.e.
insane i.e. intoxicated movements of the Rishis. These rishis were
spiritually intoxicated and Rishi Machhar saints used to move in
groups to collect alms. They would visit people and repeat those
rhymes, which pertained to the morality of life. 'Dhamaly' means
leaping and Jumping. This type of holy sport is also popular in UP. It
is related with an exercise of saints, who jump over burning fire.
Naindai Gyavun are farmer's folk songs. Naind is the changed form of
the word 'Ninad' of Sanskrit. The word 'gyavun' also has originated
from gayan of Sanskrit. Since these songs are sung in Chorus, these
are also called 'Naindan Chhakar'. Religious songs include leelas and
its tradition continues to be strong even in exile.
Musical Instruments :
In the chapter on instruments used with the Traditional Music, the
author goes back to the history, discusses the material these
instruments are made of and also describes the technique of playing.
Her observation is that the ancient musical instruments used in
Kashmir "had been more or less a reflection of the Indian musical
instruments in usage during that time". She discusses at length these
instruments e.g. Tumbaknari, Sarang (Sarangi) and Kashmiri Sarang,
Gagar, Nagda, Dhola, Shankh, Swarnai, Khasya (Khos-cup), Thaluz,
Rabab, Noet, Nai (Flute), Santoor, Saaz-i-Kashmir, Setar/Sehtar,
Wasul/Dokra/Tabla.
In Iran Tumbaknari is called Tumbakh or Tunbak. In West Asia it is
tumbal or tumbari. Gagar holds valuable place in the religious
festivals of Kashmir. Shankh, the 'sushirvadya', one of the ancient
instruments of India is associated with religious functions and has a
vital role in 'Leela' singing. Atharva Veda and Bhagvad Gita carry
references to it. Swarnai, a 'sushir vadya', holds the same place in
Kashmir folk music as the Shahnai in the Indian music. This instrument
has been mentioned in Nilamata Purana and Rajtarangini. This musical
instrument is intimately related to marriages, festivals, shivratri,
navreh, Id and other auspicious occasions.
Late Mohan Lal Aima did an intensive study of Noet playing and revived
the art. References to Noet-playing are present in Nilamat and
Rajatarangini. Delving into its origin, Prof. Dhar observes that in
Kashmiri language, the original words 'Kalash' or 'Ghat' might have
lost their existence and 'Noet' have gained popularity due to the fact
that it was associated with 'UV' (nat). In due course of time, the
word 'nat Kalash' might have lost 'Kalash' and become popular as
'noet'.
In Kashmiri, Nai means flute. In Nilamat it finds mention as 'Punya
hved shabdin vansi venurvenaya sut magadh shabden tatha vandisvanenc'.
Both Vansi and venu refer to 'nai'.
Rabab and Sarang :
The author is not sure whether Rabab and Sarangi have indigenous
origin or not. At one place she says these travelled to Kashmir from
Persia, Afghanistan and Arabia, while at the other she quotes
Ain-i-Akbari to suggest that Rabab was invented by Tansen. According
to A.Lavience, Rabab existed during the times of King Ravana, when it
was called as Ravanastram. Similarly, Maharaja Sarang Dev of Kashmir
is said to be the inventor of Sarang. Prof Dhar believes Santoor too
has a native origin. It used to be called Shat-tantri Veena. Some
scholars believe that this instrument could be related to Sakta sect.
Santoor is made of mulberry wood and is trapezoid in shape. According
to Shakts, triangular is a symbol of desire, knowledge and action.
Mulberry tree, is sacred to Kashmiris and is related to 'Bhairov'. The
extreme popularity of Santoor in our own times is attributed to such
great artists-Tibet Bakal, Saaz Naivas Kaleem, Sheikh Abdul Aziz and
Bhajan Sopori.
Saaz-i-Kashmir has originated in Kurdistan, Iran and is popular
throughout Muslim world. In Iran it is called Kamancha. Sitar is said
to be the product of fusion between Persian Tambura or ud (Shape) and
Indian Veena (in principle). Others opine that Sitar evolved gradually
from Tritantri Veena. Wasul or Dokra have gone out of use and replaced
by Indian Tabla.
'Hafiza Dancing':
In the last chapter, the author has listed some famous songs along
with their text and notation. The omission of 'Hafiza dancing' is a
major shortcoming of this monograph. Infact in late nineteenth
century, one of the main attractions for visitors was Hafiza, the
nautch dancer. Many of these dancers stayed and worked in the Shalimar
Gardens. The bungalow, lit by candles and lanterns, was used for
performances and entertaining visitors. The women themselves usually
lived in tents. Azeezie was one of the most popular Hafiza dancers in
1860's and appears in Baker and Burke Catalogue. The author could have
also attempted a review of life and works of outstanding Kashmiri
musicians. 'The Tradition Music of Kashmir' has good readability, and
is reasonably priced.

*The Traditional Music of Kashmir. In Relation to Indian Classical Music

Author : Dr. Sunita Dhar

Published by: Kanishka Publishers

4697/5-21A, Ansari Road, Daryaganj, N.Delhi-110002



Source: Kashmir Sentinel


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