|
|
RAJASTHAN - THE LAND OF VIBRANT, SPIRITED AND EVOCATIVE
MUSIC
Emanating from a tradition that is old and undisturbed, and from a
culture that has imbibed the best from its neighbouring states of Sindh,
Gujarat, Malwa, Mewat,
Haryana and Punjab, in Rajasthan, music is deeply engrained in the
hearts and souls of the inhabitants. 
There is opulence and diversity in Rajasthani music, which is rich,
heroic, melancholic and joyful, and governs all aspects of Rajasthani
lives. The voices, both male and female are full-throated, strong and
powerful. The numerous songs sung by the women reflect the various
feminine moods and strong family ties that govern their lives.
The legendary battles of the Rajputs are told through songs. The music
engenders both a spirit of identity and provides entertainment as relief
from the daily grind of wrenching a living from the inhospitable land of
heat and duststorms
Men and women of Rajasthan sing devotional as well as festive songs.
Songs by the saint-poets like Kabir, Meera and Malookdas are part of the
folk repertoire are sung all night during the ‘raatijagas’ (all
night affairs spent in singing devotional songs), which are held as thanks
giving to a particular deity. MUSICAL MOODS
The hard life of the desert dwellers made them seek means of making life
more pleasant by developing their artistic talents. There are many
traditional communities who are professional performers and their skills
are handed down from generation to generation.
‘Peepli’ and ‘Nihalde’ are songs imploring the
beloved not to leave her or to return to her as soon as he can. There are
songs about the family, comparing every number to the numerous ornaments
worn by women. The festivals of
Gangaur and
Teej, celebrating marital
bliss and the brief but splendid monsoon of Rajasthan call for special
songs without which, no celebration is complete.
A plethora of fairs and festivals brings gaiety, a wild riot of colours
and music into the dry lives of these desert people. Holi, the festival of
colours, brings forth the joyous, lively rhythms of the ‘changs’
and ‘dhamal’ songs. Marriages, childbirth, the visit of the
son-in-law, all call for song and music.
THE SINGING FRATERNITY
The wandering balladeers, like the ‘bhopas’ who sing about the
Marwar folk hero - Pabuji, travel from village to village with their ‘phad’
painting and ‘rawanhathha’ entertaining people with their
ballad.
There are many singing communities in Rajasthan know as the ‘dholis’.
Also know by other names like ‘mirasis’, ‘dhadhis’, ‘langas’,
‘manganiyars’, ‘kalbelias’, ‘jogis’, ‘sargaras’,
‘kamads’, ‘nayaks’ or ‘thotis’ and the ‘bawaris’.
Today their music can be heard all over the state and is popular even in
the national and international circuits. 
The rich flavour of this opulent artistic talent can be savoured during
various fairs and festivals of the state, especially during the
Desert festival
(Jan-Feb), Pushkar Fair
(Oct-Nov), the Marwar
Festival (Sept - Oct) and the Camel
Festival (Jan-Feb).
NOMADIC MELODY
There is a great tradition of popular poetry, which is written under the
rival banners of ‘turra’ and ‘kalangi’. This is sung
in groups in ‘jikri’, ‘kanhaiyya’ or ‘geet’
(of the meenas), ‘hele-ke-khyal’ and ‘bam rasiya’ of
Eastern Rajasthan.
Group singing of classical ‘bandishes’, called the ‘dangal’
or ‘taalbandi’ is also unique to this region. ‘Bhopas’
are singing priests of various deities or warrior saints.
The famous sophisticated ‘maand’ of Rajasthan, true to its
desert environment, speaks of love, separation, chivalry and rivalry. The
Mahabharat and the Ramayan are popular themes for ballads.
Folk opera is another field, which has been made immensely popular by the
professionals, often in association with amateurs. The ‘maach’
of Chittaurgarh area, ‘tamasha’ of Jaipur
and ‘rammat’ of Bikaner are famous.
FOLK MUSICAL INSTRUMENTS
The Stringed Instrument
The ‘sarangi’ is the most important folk musical instrument and
is found in various forms in Rajasthan.
The ‘langas’ use the ‘Sindhi sarangi’. It is made up
of four main wires, seven ‘jharis’ and seventeen ‘tarafs’.
The bowing of these instruments is a skilful exercise, often supported by
the sound of the ‘ghungroos’ or ankle bells that are tied to the
bow to make the beat prominent.
Another remarkable bowed instrument is the ‘kamayacha’ of ‘manganiyars’,
with its big, circular resonator, giving out an impressive deep, booming
sound.
The ‘ektaara’ is also a single string instrument, but it is
mounted on the belly of a gourd attached to a body made of bamboo.
In western Rajasthan, a simple instrument called the ‘morchang’
is very popular, that resembles the Jewish harp.
Wind Instruments
These are the instruments that are played by blowing into them.
The ‘algoza’, common in the Tonk-Ajmer areas, is such
two-flutes played together.
The ‘satara’ of the ‘langas’ has one long flute and
another flute to provide the drone.
The ‘narh’ or ‘nad’ produces music most evocative of
the desert. It is a vertical with a single long hollow tube, into which
the player whistles at the same time while gurgling a song in his throat
or actually singing intermittently that has a haunting effect.
The Autophonic Instruments
The bells are the first of the autophonic instruments.
The ‘ghanti’ or the ‘ghanta’ are commonly used and
the ‘ghungroo’ (ankle bells) form an integral part of the music.
There are the ‘manjeeras’, which are made of brass in the shape
hemispherical metal cups stuck against each other.
The ‘jhanit’ and the ‘taala’ are different kinds of ‘manjeeras’.
A single metal plate, the ‘thali’, forms another variety of
musical instruments. This is struck in various ways producing different
kinds of tones and rhythms. Rhythmic music is also provided by the ‘khartals’,
which are disc jinglers, struck against each other.
Percussion
Different kinds of drums form this group of musical instruments. They are
of various kinds: the two-sided ones, the single sided drums, the shallow
rimmed and single-faced. Single faced instruments are played singly or in
pairs. The largest single conical drum is the ‘bam’ of
Bharatpur. The earthern pitcher, locally
known as ‘matka’ and the ‘ghada’ has its mouth covered
with membrane.
The state government has provided patronage and opportunities for
self-employment for folk artists by organizing fairs, festivals and
cultural programmes. It has also aroused and directed the interest of the
local people towards the preservation of our rich cultural heritage.