Friday 21 November 2014

700 years of poetry...


Kasturi Tilakam Lalata Patale Vakshasthale Kaustubham
Nasagre Varmauktikam Karatale Venum Kare Kankanam
Sarvange Haricandanam Sulalitam Kantheca Muktavali
Gopastree Pariveshtito Vijayate Gopala Cudaamanih


The meaning is:
Salutations to Gopala Who is adorned with the Sacred Marks of Kasturi (Musk) on His Forehead and Kaustubha Jewel on His Chest,
His Nose is decorated with a Shining Pearl, the Palms of His Hands are gently holding a Flute, the Hands themselves are beautifully decorated with Bracelets,
His Whole Body is Smeared with Sandal Paste, as if Playfully anointed, and His Neck is decorated with a Necklace of Pearls,
Surrounded by the Cowherd WomenGopala is Shining in their middle in Celebration like the centre  Jewel on a crown. Gopala 
 gave Mukti (salvation) to the Gopis (lady-cowherds) who followed him. The last line shows the contrast that while the lord is supremely ornamented, he is also the supreme ornament


This piece of sanskrit poetry is written by  Bilvamangala Thakura or Leelasukha (one who took joy in describing Leelas of Lord Krishna) who is fabled to have lived for 700 years in Vrindavan in he 13th-14th century and is credited with composing the Sri Krishna Karnamrutam, from which this poetry is taken. Originally from Kerala, his journey to Vrindavan is described in the notes below.  It is  possible ha a number of other composers, who may have been his disciples wrote in his name, over this period very similar to how a number of poets used to write under the pen name of Kabir. Kasturi Tilakam is popularly seen in music and dance even today. You can hear the legendary Pt Jasraj sing a celebratory version of this below: 



About LeelaSukha:



"A great Vaisnava sannyasi named Bilvamangala Thakura, who is also known as Lilasuka. He intensely desired to enter into the eternal pastimes of the Lord, and he lived at Vrndavana for seven hundred years in the vicinity of Brahma-kunda, a still-existing bathing tank in Vrndavana. The history of Bilvamangala Thakura is given in a book called Sri Vallabha-digvijaya. He appeared in the eighth century of the Saka Era in the province of Dravida and was the chief disciple of Visnusvami. In a list of temples and monasteries kept in Sankaracarya's monastery in Dvaraka, Bilvamangala is mentioned as the founder of the Dvarakadhisa temple there. He entrusted the service of his Deity to Hari Brahmacari, a disciple of Vallabha Bhatta.
Bilvamangala Thakura actually entered into the transcendental pastimes of Lord Krsna. He has recorded his transcendental experiences and appreciation in the book known as Krsna-karnamrta. In the beginning of that book he has offered his obeisances to his different gurus, and it is to be noted that he has adored them all equally. The first spiritual master mentioned is Cintamani, who was one of his instructing spiritual masters because she first showed him the spiritual path. Cintamani was a prostitute with whom Bilvamangala was intimate earlier in his life. She gave him the inspiration to begin on the path of devotional service, and because she convinced him to give up material existence to try for perfection by loving Krsna, he has first offered his respects to her. Next he offers his respects to his initiating spiritual master, Somagiri, and then to the Supreme Personality of Godhead, who was also his instructing spiritual master. He explicitly mentions Bhagavan, who has peacock feathers on His crown, because the Lord of Vrndavana, Krsna the cowherd boy, used to come to Bilvamangala to talk with him and supply him with milk. In his adoration of Sri Krsna, the Personality of Godhead, he describes that Jayasri, the goddess of fortune, Srimati Radharani, takes shelter in the shade of His lotus feet to enjoy the transcendental rasa of nuptial love. The complete treatise Krsna-karnamrta is dedicated to the transcendental pastimes of Sri Krsna and Srimati Radharani. It is a book to be read and understood by the most elevated devotees of Sri Krsna."

"When Bilvamangala Thakura was going to Vrndavana, he was still attracted to women. One night he stayed at the house of a very rich merchant, and the merchant's wife told her husband that Bilvamangala Thakura was attracted to her. She asked her husband what to do, and the merchant simply said, "Serve him." Finally Bilvamangala Thakura came to his senses, and he thought, "These eyes are my enemies." When the beautiful woman approached him, Bilvamangala Thakura said, "Mother, please give me the pins out of your hair. I am very mad after the beauty of women. So let me pluck out my eyes." In this way, he blinded himself. Although he could not see, in Vrndavana he was supplied milk by Krsna Himself. Thus he personally realized Krsna through bhakti and wrote of his personal experience. He wrote, "Mukti is not a very important thing. She is always at my service with folded hands, saying, 'My dear sir, what can I do for you?' " Thus a devotee is not very anxious for mukti because he is already liberated. If a man has a million dollars, why should he hanker after ten rupees?" (from http://www.harekrsna.com/)

Some More History:

Thursday 20 November 2014

Some thoughts(Khayal) on Khyal -'ja ja re apne mandirwa'

The Mughal period in India lead to confluences between the prominent culture in the Indian subcontinent at that time and the incoming influence of the persian culture. This is seen in the development of Hindustani Music as well as Kathak, both of which became more detailed and appealing as a result of this confluence. Though it surprised me initially to hear Urdu words in very traditionally sung Khyals,  I understand now that a number of composers seemlessly blended persian, arabic, sanskrit and other langages of the  indo-aryan palate. The hindavi-urdu blend leading to the hindustani language is a beautiful outcome of a beneficial cross-cultural confluence. 


Sharing a new take on one such traditional Khyal in Raag Bhimpalasi 'ja ja re apne mandirwa' (जा जा रे अपने मंदिरवा), rendered by Nirali Kartik, Amit Mishra and Shankar Tucker



About the composer Sadarang :

Niyamat Khan (pen name - Sadarang) and Firoz Khan (pen name - Adarang) are considered the pioneers of Khayal form of Hindustani music. They not only composed hundreds of khayal bandish-es still in use today, they are also credited with formulating the structure of khayal and getting royal patronage for it, establishing it firmly as a form of Hindustani music. They are probably the most famous names in the history of Hindustani music, after Amir Khusro and Tansen.Niyamat Khan (1670-1748) and his nephew Firoz Khan, were originally from Gwalior. They were Dhrupad Beenkars (i.e. played Veena) and vocalists. Their fame took them to the court of music loving Mughal Emperor Muhammad Shah Rangile (ruled 1719-1748). When serving in his court they developed leasurely form of Dhrupad that was named Khayal for its leisely, wishful mood. Many of the compositions are in praise of the emperor, Mohammed Shah (like Tu Hai Muhammad Shah - Raag Suha).Sadarang and Adarang, with their disciples and followers established the kawal gharana specializing in khayal form of singing. With the fall of Muhammad Shah Rangile and disintegration of Mughal empire, disciples and discendants of Sadarang and Adarang spread out to royal courts in various parts of India - Agra, Jaiput, Gwalior, Lucknow, Benaras, Rampur etc and evolved the various gharanas of Khayal that we recognize today.Musicologists warn that not all compositions with pen names Sadarang or Adarang can be definitely attributed to these composers. It is possible that many a later composer, used the same pen name to enhance the standing of the composition (from http://www.musicalnirvana.com)

Wednesday 19 November 2014

The Cycle of Time...

Circle Has No Beginning...


The oriental concept of time is cyclical unlike the occidental belief in the linearity of time.In a cultural sense, in the Indian subcontinent,  there is a need for reference to  history in order to understand the current time reference. The modern western mind views time as linear with a beginning and end (Concepts in Time ,Jeff A. Benner). 

The linearity of Time

Our concept of time being cyclical, it means that the beginning is also the end as reflected in the spiritual belief in human reincarnation. Death is but the beginning of the souls return to the next life.  Looking at it from a scientific perspective, both space and time exist as circles. Throughout the universe there are an infinite number of circles, some small and some large. The most obvious of these extremes are the orbits of atoms and solar systems. The repeating intervals of time, whether seconds or billions of years can also be represented by a circle.


Time and space cycles


The spiritual, scientific and social beliefs held by a culture are reflected in the music and the philosophy of music  developed in the culture . In western classical music, there is a beginning and end to musical compositions and the body of the music marks the progression from start to end. In Indian classical music, there is an underlying rhythmic time keeping on which is superimposed the start and end of a composition. This time-cycle is known as the Lehera or the Nagma, which is described by a certain sequence of musical notes.

An example of a 11 beat time cycle called 'Asthamangal' in numbers, tabla bols or rhythmic syllables and accompanying notes

Dhi      Na       |Dhi      Dhi      Na      | Dhi      Dhi      Na        |Tuna      Kata      Tirakita  |    Dhi        
    1       2        |3         4          5          | 6          7          8           |9             10         11           |       1         
    Sa     Ga     |Sa        Re       Ga        | Sa        Re       Ga         |SaRe      ReGa     GaMa     |       Sa        


The most well known taal-cycle or time-cycle is of course the Teentaal or 16 beat time cycle, which you can listen below



Listening to the Lehera is a very mediative experience for me. Just as each wave hits the shore, to recede again, the sam or the first beat of the taal-cycle  makes us feel that we are once more at the beginning. I feel as though the sam is a safe haven, akin to a home where we have safely reached. Listening to the Lehera and doing Tatkaar is an experience that can take us within ourselves and make us one with time and space. For a kathak dancer, becoming one with the Nagma is the first step towards understanding rhythm....