A strange wedding song, 1877

Kashmiri Dancing Girl
by V. C. Prinsep

An extract from Imperial India; an artist’s journals’ (1879) by V. C. Prinsep, who visited Kashmir around 1877.

One evening I went to a wedding. I was not allowed to join in the ceremony, but viewed the proceedings from an upper window. Seven days the tomasha had lasted, and day and night were women howling congratulatory verses to the bridegroom who sat feasting with his intimates the while. On a certain day rings are put into the bride’s ears and nose; on another her hands are marked with henna, and so on. She lived in a house hard by, where the happy man was allowed to see her for a short time each day, being conducted to and fro with mush ceremony and many torches stinking and reeking, as I found to my cost. I have taken down many of the distiches sung on the occasion, and am trying to get them translated, when, if they are worth it, I will add them to my diary. The continued howling of the women becomes very irksome after a time, and although the sight was curious, I was glad to get away after a couple of hours. The bride was nine years old.
The following is a translation of the songs sung at a Kashmirree wedding [by Major Henderson, C.S.I., the political officer in Kashmir]: –
Mother of the Bridegroom to the Bridegroom.
Urge on thy steed in every direction.
I will prepare thy seat in the garden pavilion:
On thy right the Koran, on thy left the necklace.
Thou art worthy to be called Lalla Gopal!

The Lalla Gopal in the verse needed some explanation. A note in the book adds, ‘Lalla Gopal, one of the names of Krishna, who was supposed to have been the type of loveliness. Curious, this, when sung by a Mohammedan!’
Prinsep further explains:

The song is a good picture of the manners of the country, and the way that the Moslem and hindoo customs have acted on each other. Whilst at Sreenugger I have painted two or three nautch girls, and it was through them that I got to this wedding, as they were amongst the singers. now these girls, like most nautch girls in India, were all Moslemehs, yet had they all the caste feeling of Hindoo. Of moral sentiment they were entirely innocent, but they would never permit any one to drink out of their cup or smoke from their hookah, and they always went about these two utensils, for smoke and tea are the two things necessary to a Kashmiree. So in this song a Kashmiree Moslem is made to say “beautiful as Krishna.”

There is another interesting line given in that song:

Singing women to the Bride and Bridegroom.
The parrot of Lahore and the Mainah of Kashmir!
How did you both become mutually acquainted?

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Update August 4, 2017

Two readers (Indu Kilam and Sushma Kaul) at FB managed to recall Kashmiri lyrics for a similar sounding song. 


Gare hai drayus bazaar kune yae, 
wati samkheum bab papune yao, 
dachin kene thovnam koran parvunei, 
khover kene thovnam shama dazuevoneu
lut lut hutamas auush traviniye, 
dapunam kuri ye chu tchaluniye

here shama is lamp.

Lyrics: Rum Gayam Sheeshus

Continuation from previous post related to Kashmiri songs by Chicago based band Lamajamal. This particular song stood out from the album.

The authentic Kashmiri version by Raaj Begum and Naseem Akhtar can be heard here at Funkar.org.

The poet is Mirza Ghulam Hassan Beg Aarif, a scientist who wrote poetry.  The ghazal was particularly popular on Radio Kashmir in 60s and 70s.

Lyrics shared by Abid Mohmood Shafiee (Thanks to Pickee Kaul for getting him to share it over at the Facebook page of this blog)

Window Watcher.
1950s


Rum gayem sheehshass
begour govaa baane meoun
Sakiyaa, waiyieth rateyaa jaanaan meoun
Aaminee khaasen, thaevoemas mas barieth
Maetch be tas path, ye Aamni mastaani meoun
Sakiyaa, waiyeth rateyaa jaanaan meoun
Zev kaleyem , az kautin kadenum shaahas
Maetch be tas path, tasspatii mastaan meoun
Sakiyaa, waiyeeth rateyaa jaanaan meoun,
Ulfattche tal waahi kadneum, yaari aaem
Chaesmanan manz kusii wanies afsaane meoun
Sakiyaa, waiyeeth rateyaa jaanaan meoun,
Rum gayem sheehshass
Begour govaa baane meoun
Sakiyaa, waiyieth rateyaa jaanaan meon

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An old recording of the song:

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Update
2017

Young Kashmiri Pandits singing it in Delhi!


video link

Pandit Minstrel and His Song, 1911

Krishna Boya Greb, Kashmiri Minstrel, 1911
(seems to be holding a ‘dutar’)

Although the singing traditions of Kashmir are usually associated with Kashmiri Muslims but around hundred years ago, a visitor to Kashmir could run into a thriving community of Pandit singers too.
Yet, the only documented record of them comes from a few pages in a work titled ‘Thirty Songs from the Panjab and Kashmir’ (1913) by Ratan Devi and Ananda Coomaraswamy. 
In 1911, while collecting Kashmiri songs in valley, they found that:
“Kashmiri Pandits are rarely musicians: those who are, claim to sing in many rags and talk boastfully of Kashmir as the original source of the music of Hindustan reckoning Kashmir another country, and not a part of India.
We heard three Pandit singers of some reputation, all old men. As accompaniment to the voice they use a small and rather toneless sitar. One also played on a zither (independently, not as an accompaniment), striking the many strings (tuned with much difficulty), with small wooden hammers held in both hands, making a sweet tinkling music. We were told that this Pandit was accustomed to sing to sick people, and even effect cures, but to our thinking, he sang no better than the others, that is, not very well. The so-called various rags sung by the Pandits are all very much alike, and musically distinctly uninteresting. The only song which seemed to us all worth recording was the following “Invocation to Ganesh” sung by Krishna Boya Greb, Pandit, son of Vasu Dev Boya Greb, to a sitar accompaniment. This very slow, rather hymn-like tune, if imagined to be sung in a rather nasal and drawling voice, will give a good idea of the general type of Pandit songs, expect as regards the words, which are exceptional. The curious actable staccato does not appear in any other Kashmiri song here recorded. 
Invocation to Ganesh
Tsara tsar chhuk parmisharo
Rachhtam pananen padan tal
Gaza-mokha balaptsandra lambo-dara
Venayeko boyinai jai
Hara-mokha darshun dittam ishara
Rachhtam pananen padan tal
Translation [one Pandit Samsara Chand helped with the text, but the translation are all mostly flawed]:
Thou art all that moves or moves not, Supreme Lord!
The sole of Thy foot be my shelter!
Gaja-mukha, Bala-chandra, Lambo-dara,
Vinayaka, I cry Thee ‘Victory’!
In all wise show me They face, O Lord! 
The sole of Thy foot be my shelter!
Some other Pandit songs:
Love Song
As nai visiye myon hiu kas go
yas gau masvale gonde hawao
Zune dabi bhitui dari chhas thas gom
Zonamzi osh ma angan tsav
yar ne deshan volingi tsas gom
yas gau masvale gonde hawao
Do not mock, my friend (f.); had it befallen another like me,
That fair flower had been a plume in the wind!
As I sat on the moonlit balcony, he came to the door;
I learnt that my lover had come to my courtyard,
If I meet not my darling (m.) I shall suffer heart-pangs
That fair flower had been a plume in the wind!
[There are a bunch of other songs given in the book by the only one I could easily recognise was the ‘Spring Song’ for its refrain Yid aye…(Eid has come)]
Yid ay bag fel yosman
Karayo kosmanan krav
Yid ay bag fel yosman
Nirit goham vanan
Yut kya tse chhuyo chavo
Trovit tsulhama mosman
karyo kosmanan krav
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And yes, Pandits still lay claim on giving India Natya Shastra, or at least giving the most authoritative commentary on it through Abhinavagupta.
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Previously: 

How Mahmud Gami’s Words Reached West, 1895

A Muslim Singer-Beggar
From Dutch travelogue ‘De zomer in Kaschmir : De Aarde en haar Volken’
(Summer in Kashmir: ‘The Land and its Peoples) by F. Michel (1907).

It is widely believed that the first person to bring works of Kashmiri poet Mahmud Gami (1750-1855) to western world was Karl Frederick Burkhard when in 1895 he partially published Gami’s retelling of ‘Yusuf Zulekhah’ in a German magazine.

Last night, I came across something that proves that Mahmud Gami’s words may have actually reached west a couple of decades earlier due to incidental travel journaling by a British painter, who also happens to be a blood relative of Virginia Woolf.

In 1877, after sketching the royalty of the Kingdom of Jammu and Kashmir, while on his way back, at Thanna Mandi, a place near Rajouri, in the afternoon of 13th June, V. C. Prinsep (1838-1904) met a traveling Kashmiri bard, a singing fakir, who regaled him with Kashmiri songs for hours while they walked. Preinsep made some notes, and later got two of the songs translated.

In his book ‘Imperial India; an artist’s journals’ (1879), Preinsep writes:

He was a filthy object, the dirtiest of the dirty; but he had the soul of a poet, and as he played his poor four-stringed instrument, he threw his head on one side, and bent over his guitar, much as first-rate performers do at home. He was grateful too, for when I left at 5 a.m., I found him waiting, and he played to me along a couple of miles of road, with his dirty legs keeping time to the twang of his music, and his nose well in the air ; neither would he leave until I gave hookham or permission.
My good friend Major Henderson [C.S.I., who was political officer in Kashmir, and an excellent linguist.] has sent me translations of two of this poet’s songs. One appears to be well known as the love-song of Mohammed Gami, a Kashmir poet.
“Like a flower-bearing plant I have become withered,
 Even I, for thy love, O Bee ;
 I will wail like the nightingale,
 ‘Where shall I seek thee, O Lily ? ‘
 Deal gently with me, come to my feast ;
 I will encircle thee with my arms, O Bee !
 What said I to thee that vexed thy heart with me ?
 By God, I adjure thee, tell me what is in thy heart.
 O dear friend, where didst thou flee from me ?
 Forsaking me, Sundar, O Bee ! “
I should like to have imported my poet as he appeared to me in his rags and filth ; yet is his love-song much like such as are sung in the drawing-rooms of Belgravia. The second song is another love-song, and the name of the poet is not known.
“Go, O bosom friend, bring me my lover, gently, gently.
 In anger he left me, sore and vexed : what offence could I have caused him?
 What is to me adornment of the person, antimony for the eyes, or any other
 embellishment ?
 For wealth and pearls what care I ? or the bells attached to my skirt ?
 O friend, sit with me in the shade of a wide-spreading chenar !
 Let not the calumny of an enemy affect thee. I am helpless.
 For my beauteous and graceful lover a divan and couch I will prepare.
 If he is not pleased with me, for whom shall I prepare them ?
 See what happened to Shuk Sanaa for the sake of the Hindoo maiden !
 He wore the sacred thread, he cherished swine with his own hands ! ” 

As is turns out, the second song is from work called ‘Shekh Sana’, a version of which among others was put to Kashmiri verses by Mahmud Gami.
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Previously:

Lyrics, trs.,Mahmud Gami’s Vasiye Naaraay


Mahmud Gami’s Ghazal

Vasiye Naaraay Daez maey Tan Taey
Yaaras Wantaey bozyam na
Friend, my body is in flames
Tell my love, won’t he listen
Poshaey Mot chum Baey Rosham tae
Rosaey Rosaey Bozyam na

My lover is again peeved
Even if peeved, won’t he listen
Kar saey maal saein poshan taey
Sui chum ratith Katihisana Jaay
I will make a garland of beautiful flowers
But which place holds him back
Dit’cham laer C’tuuram sam taey
Yaras wantam bozam na
But like a thief he ran away
Tell my love, won’t he listen
Vasiye Naaraay
Friend, I am aflame 
Yakhlaas gov aevyul pan taey
Aashaeq kyaet walnaey aay
I realized, like delicate thread
Why lovers get entangled?
Laasheaq chuey na ashiq’kas T’cyam taey  (?)
Yaras wantam bozyam na
Isn’t fair, cheating on love  
Tell my love, won’t he listen
Vasiye Naaraay 

Friend, I am aflame

Kavyin Doony’n ho Kar’yawin taey (?)
Yaawan t’chooran karnam graav

Earthen Hearth ??????????????????
Thief of my youth is now complaining

Booz kya won’nae Mahmuda’n taey
Yaaras wantam bozyam na

Listen to what Mahmud say’s
Tell my love, won’t he listen

Vasiye Naaraay Daez maey Tan Taey
Yaaras Wantaey bozyam na
Poshaey Mot chum
Baey Rosham tae
Rosaey Rosaey Bozyam na
Vasiye Naaraay

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when we meet and how we meet



Train may baithe do Kaashmiri

Train may baithe do Kaashmiri

Raat Bhar ‘Hata Warai !Hata Warai!’

Howay Howay

Two Kashmiri meet in a train
and for the entire night
the train
rings with shouts of :
‘How are you? Are you fine?’

~ lines from a funny multi-lingual Kashmiri song sung at weddings about people of different races meeting each other in a train.

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ays che wodwin jaanawaar

We are flying animals

~ line from a Kashmiri song.
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lyrics, trs., notes: Harmukh Bar Tal

An interesting case of a popular Kashmiri love song. Harmukh Bar Tal, popular as a Bhajan among Pandit and the same song is popular as a love song among Kashmiri Muslims. Of course, as is often the case in Kashmir, it is so popular that no one remembers the original writer and the meaning of the lines is not give and assumed to be understood. I hope people realize something even as simple as giving translations along with the original lines along with a Youtube video  goes a long way in keeping a language alive. The are people doing it for Urdu and even Hindi online. But, Kashmiris would just sit and talk about ‘dying culture’.
Anyway, back to the song. There are a couple of versions of the song available (all with same tune).

First version is a Pandit one by Rajinder Kachroo. Second version is by Shameema Dev and third one is a more recent production (singer not give!) presented as a Hafiz Nagma. Based on who is singing, some words change. Praraey become Zaagaey, both meaning wait. Yee become Tee both meaning that. Posh (Flower), Golab (Rose), Shaeyri (Lavender) move around interchanging-ly. Two (completing) extra line coming in from Shameema Dev’s version. Personally, based on what I hear, I find Zaagaey, Tee, replacement of Posh with Shaeri (which in turn gets to compete with Golab) etc. really interesting.

Based on all the three versions, here’s what I could make of the love song. A transliteration (done in an hour, someone with more knowledge of the language could have done it in five):

Harmukh bar tal praraey (zaagaey) Madano
I will wait at the gates of Harmukh, for you my love


Yee Dapham tee (yee) laagyoo
What ever you ask, I will offer


Posh (shaeyri) dapham 
Ask for flower (Lavander)

Golab (shaeyri) laagaey Madano

I will offer Rose (Lavander), my love

Yee Dapham tee laagyoo
What ever you ask, I will offer


Phambas ti Naaras mil goom
My Yarn and Spindle, all entangled 
Cotton and Fire are now one

Valla tche path dil goom

Oh, God!, My heart is stuck on you

Be’no ye dooryer tchalay Madano
I can’t take this distance anymore

Ye dapham ti lagayo

What ever you ask, I will offer

Kabeel’e Drayas Pranaey
I left my old tribe, my people

Kya osum Deklanay
What was the push?

Be’no ye dooryer tchalay Madano*
I can’t take this distance anymore

Harmukh bar tal  praraey Madano
I will wait at the gates of Harmukh, for you my love

Yee Dapham tee laagyoo
What ever you ask, I will offer

Kongas karmay chamayee

In am tilling in saffron fields

Maenz ho lagith naman
Henna still fresh on my nails

Mushtakh goham kaman Madano
Yearning, for whom, my love

Yee Dapham tee laagyoo

What ever you ask, I will offer

Yaawan myaanay Thazro
My youth is at its zenith

T’chekor dejyo Nazro
Where are your eyes lost?

Kaaei we’tce hung Zazoor Madano**
It is wracked, blotched and decaying, my love

Yee Dapham tee laagyoo
What ever you ask, I will offer

The imagery that the song creates in a Pandit mind is that of Parvati at the foot of Harmukh singing out a love song to Shiva who is still mourning for Sati.

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** Found the meaning of ‘hung‘ in that beautiful line thanks to work of George Abraham Grierson Sahib.
* In Rasul Mir’s ‘Bal Marayo’ we find an identical line that goes like this: Butino Ye Doorer Choon Zaray, Bal Marayo

double gilaas

Cherry Earrings
July. 2013.
I had to promise my little cousin a ‘pizza treat’ for posing





My mother remembers
in spring
she would run around with cherry earrings.

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Cherry Picking. Kashmir. 1953
(From  the archive of Indian Photo Division)

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dimyo dilaas
gandyo walaas
peirtho gilaas kulni tal

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Kashmiri word for Cherry comes from Persian word for Cherry: gilaas

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Update: April, 2016

Mohsen Makhmalbaf’s Irania film “The Silence” (1998)

Kashmiri songs and stories for Rustam

An illustration to the Shahnama (“Book of Kings”): Rustam and the White Div, Kashmir, circa 1800
Source: christies

“Even now, the people of cashmere read and hear with pleasure, some of the touching episodes about the ancient persians in the Shahnameh of Firdousi. During my visit to that country, last May I frequently heard the Pandits saying:

i.e.,”the person who reads Shahnameh, even if he were a woman, acts like a hero.” The episodes are rendered into Cashmiri songs, and sung on special occasions by musicians and singers, before large assemblies at night. In the midst of a very touching episode, when, owing to the difficulty or the danger of the favourite hero of the episode, who has for the time become a favourite of the audience as well, the excitement of the hearers is raised to the highest pitch,the singer suddenly stops and refuses to proceed further. The hearers get impatient to know the fate of their favourite hero, and subscribe among themselves, a small sum to be given to the singer as the price for releasing the favourite hero from what they call his “band,” i.e., difficulty or danger. It is only, when a sum is presented, that the singer proceeds further. They say, that even on marriage occasions, some of the marriage songs treat of the ancient Persians. For example, I was told that one of the marriage songs, was a song sung by the mother of Rustam, when her son went to Mazindaran to release king Kaus.

It was for the first time, that I had heard in Kashmir, the following story about Rustam and Ali. I do not know, if it is common to other parts of India. They say, that Rustam was resuscitated about 500 years after his death for the following reason. Ali, the favourite of the holy Prophet, had fought very bravely in the war against the infidels. The Prophet complimented him, saying: “You have fought as bravely as Rustam.” This remark excited the curiosity of Ali, as to who and how strong this Rustam was. To satisfy the curiosity of Ali, but without letting him know about it, the Prophet prayed to God to resuscitate Rustam. God accepted the prayer. Rustam re-appeared on this earth, and met Ali once, when he was passing through a very narrow defile, which could allow only one rider to pass. Rustam bade Ali, Salam Alikum, i.e., saluted him. Ali did not return the Alikum Salam. Having met in the midst of a narrow defile, it was difficult for anyone of them to pass by the side of the other, unless one retraced his steps. To solve the difficulty, Rustam lifted up the horse of Ali together with the rider hy passing his whip under his belly, and taking him over his head, placed him on the other side of the defile behind him. This feat of extraordinary strength surprised Ali, who on return spoke of it to the Prophet.
After a few days Ali again met Rustam, who was sitting on a plain with his favourite horse, the Rakhsh, grazing by his side. On seeing Ali, he bade him Salum Alikum, but Ali did not return the salam. Rustam then requested Ali to bring to him the grain bag of his horse, which was lying at some distance. Ali found it too heavy to be lifted up, and it was after an amount of effort that he could carry it to Rustam. Ali thought to himself: What must be the strength of the horse and of the master of the horse, if the grain-bag of the horse was so extraordinarily heavy? On going home, he narrated to the Prophet, what be had seen. The Prophet then explained the matter to him, and said that it was Rustam, whom he had seen during these two visits, and that God had brought him to life again at his special request. He then reprimanded Ali for his want of respect towards Rustam, in not returning his salams, and said, that, had Ali been sufficiently courteous to Rustam, he would, have prayed to God to keep him alive some time longer, and in that case, he (Rustam) wouid have rendered him great help in his battles.”

~ Cashmere and the Ancient Persians, Jivanji Jamshedji Modi, B.A. (1871), read on 9th December 1895 for Asiatic Papers Papers Read Before The Bombay Branch Of The Royal Asiatic Society. Published 1905.
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lyrics, madano pardeh royas tul

From Shameem Azad Collection, 1978

Someone asked for a translation of the song. Here are the lyrics and an attempt at translation (corrections are welcome).

madano pardeh royas tul
be lagay’e dard’hetay gul
t’che mo’laag bewafa bilkul
be lagay’e dard’hetay gul
madano pardeh royas tul


Beloved lift that veil off your face
love ached
I want to offer you a flower
You don’t play
a compete unfaithful
I want to offer you a flower

Beloved lift that veil off your face
walo maya’ne kaal bomburoo
at’chan hind gash ta’ey nooro
sula yamberzal my’oz’tul
be lagay’e dard’hetay gul
t’che mo’laag bewafa bilkul

be lagay’e dard’hetay gul

madano pardeh royas tul


Come my black bumblebee
light of my eyes and my sight
A narcissus I picked, earlier
love-ached
I want to offer you a flower
You don’t play
a compete unfaithful
love-ached
I want to offer you a flower
Beloved lift that veil off your face

walo maya’ne lockcharo ve
zolvin nov bahaaro ve
dama chu maar vyun’chay sul
be lagay’e dard’hetay gul
madano pardeh royas tul

Come my Childhood
swarming new spring
a sip of wine remains
come
there is still some time
love-ached
I want to offer you a flower
Beloved lift that veil off your face

~ Abdul Ahad Azad (1903-1948)
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Although Abdul Ahad Azad is now mostly remembered for his revolutionary songs tinged with socialism, but as the above composition proves, his hold on romanticism rooted in Kashmiri idioms was just as fine. He should also be remembered for his contribution to documenting the oral poetic works of Kashmir. A translation of Kashmiri Zaban Aur Sairi, his three volume history of Kashmiri literature, is long overdue.

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Manmadin/Madan/Madano

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Update 2017

Young Kashmiri Pandits singing in Delhi!

video link

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