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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.
music dies in Kashmir
~ Ananda Coomaraswamy
Shalimar Gardens. William Simpson. 1823. About the performance he wrote,it was “the sweet delusion of a never to be forgotten night.” |
Newsclip about Ratan Devi’s performance in New York Vassar Miscellany News, Volume X, Number 18, 25 November 1925 Interesting note by Willain Buttler Yearts. |
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Finally tracked down Kashmiri songs documented by the couple in 1911.
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video: ‘Bumbro, Bumbro’, 1964
Came across this mesmerising bit in A Bhaskar Rao’s “The Dancing Feet” (1964), a Shantaram Production about folk dance forms of India. [link for full movie at NFDC channel, where they had trouble dating the film]
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Notice the same place on the
Bank of Jhelum, Srinagar, 1906 |
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Got names of some of the people in the video from readers via Facebook page of the blog
The woman in red: Raj Dulari, was a teacher at Lal Ded school |
Zia Durrani and Nancy Gwash Lal, who were members of the original opera too.
One of the singers is Raj Begum.
Bilhana’s Love Story in Film
The Rafi song from Shabab (1954) [movie link], the initial line is from Zauq and rest of the lyrics are by Shakeel Badayuni.
Shabab (1954) was inspired by love story of 11th century Kashmiri poet Bilhana. The original story is available as: Bilhaniyam, play written by Narayana Shastri, then there is BilhaniyaKavya and the Bilhaniya-Charitra. And as Bilhaniyamu, a late-eighteenth-century Telugu reworking of a Sanskrit poem, deemed immoral in Victorian era. The episode is said to taken place in court of King Anhil Pattana of Gujarat, and may or may not have been biographical.
In the story, Bilhana is introduced as a blind man to a Princess he is supposed to teach. The princess is introduced to him as a leper. All this so that the handsome man does not seduce the Princess. But the ploy is exposed when Bilhana accidentally, in a moment of joy, describes in lucid details beauty of book. The veil of deception is lifted. The two naturally do end up falling in love. The King, of course, is not happy. So, ‘Off with the head’, he goes. While in prison, Bilhana composes 50 erotic verses that come to be known as Chaurapanchasika (the Fifty Stanzas of Chauras)[a vintage English edition]. There are multiple versions to the story. In the Southern version, the King is impressed by the verses, and the two get together. In the Kashmiri version, the poet awaits the judgement.
In the film version, to keep with the cinematic trends of the time, Bilhana meets a Devdas-ish end. And so does the heroine.
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Interestingly, there is South Indian film from 1948 called Bilhana inspired by the same story.
Mother Parbat Split
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Khayyam’s Parbaton Ke Pedon Par Shaam for film Shagoon (1964) and Kashmiri Bhajan ‘Maej Sharika’ sung by Kailash Mehra as it is by most pandits.
It seems to have been a trend in Kashmir. Trilokinath Raina in his book “Ghulam Ahmad Mahjoor” mentions that some songs of the poet were set to popular Hindi film songs of the time.
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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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Lal Vakh, audio
In all there are three files. First two are the vakhs (almost 1 hour in playtime, around 60 Vakhs) and last one is a Kashmiri Bhajan. The whole setup (starting with Shuklambaradharam and ending with stutis and a Bhajan) gives a feel that there must have been a time when just like Gita Path, a night just for listening to Lal Vakh too must have been organized by Pandit families. Besides more popular vakhs of Lal Ded, I heard some for the first time. Like:
Gita Paraan Paraan kuna mudukh
Gita Paraan Paraan kun gai suur
Gita Paraan Paraan Zind kith ruzukh
Gita Paraan Paraan dodh Mansoor
Why didn’t you die listening to Gita
How many turned to ashes listening to Gita
How did you live listening to Gita
Listening to Gita, Mansoor went ablaze
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Update:
Among Kashmiri Muslims the above mentioned lines are attributed to Nooruddin Rishi and in their rendition ‘Gita’ is replaced with ‘Koran’. The reference to Mansoor here is to Persian Sufi Mansur Al-Hallaj (c. 858 – March 26, 922), who was publicly executed, his body cut and then burnt for claiming, ‘Ana al Haq. I am the truth’. The burning of Mansoor’s body is a common motif in old Kashmiri Sufi poetry.
Gosain Pather
Last of the great Surnai Players. M.K. Raina mentioned that there are now no Surnai makers left in the valley. |
Bhand Pather performed at IGNCA on 5/4/2013.
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Naat by Mohan Lal Aima
Audio goes mute after 2:20 but still something…