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: 

music dies in Kashmir

“It is said that music is born in bengal, grows up in Outh, grows old in the Panjab and 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

A recording of authentic Kashmiri rendering of Lal Vakhs by Pandit Sarvanand Sagar, produced by Vir House, Jammu.

[archive.org link]

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.

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