MUSIC AND DANCES OF MAHARASHTRA

Music of Maharashtra

Maharashtra is a state of India. The region's folk heritage includes bharuds, gondhals, lavnis, Shahiris and povadas. Sharang Dev, a 13th century composer, was from Maharashtra as well.

The state has produced more than its fair share of Classical and popular musicians. Lata Mangeshkar, Pt. Pohankar, Kishori Amonkar, and other luminaries.

It is also well known for the latest Bollywood Music.

Music festivals in the area include Banganga Festival and the Pune Festival.

Grindmill Songs In Maharashtra

A Musical-Anthropological Study

Vronique Bacci

This project is part of the research programme "Popular oral tradition and collective memory" currently conducted by the Centre for Cooperative Research in Social Sciences (CCRSS, Pune).

The program is an attempt to project new insights into the symbolic systems and processes of social communication among communities with a low social status in India. It aims at revealing ways and forms of cultural agency characteristic of the subordinated.

Initial work has been undertaken by CCRSS during the past decade. It consists of a methodical collection of data (basically song texts), structural content analysis with interpretation involving the informants, write-ups and publications, seminars and eventually practical valorisation. About 50 000 song texts have been collected so far, classified and stored in a computer database, along with data about the performers, places and contexts of performance. (See A cultural-sociological database <http://iias.leidenuniv.nl/host/ccrss/database.htm>)

Grindmill songs are interpreted at dawn by peasant women in the few villages in which the grindstone has not yet been replaced with the electric mill. In the context of drastic transformations occurring in rural areas of Maharashtra, the texts of these songs display a characteristic continuity between " traditional " and " modern " thought processes and modes of expression. They aim at establishing bonds between individuals and groups.

The main concern of the semantic/linguistic study of grindmill song texts undertaken so far by the CCRSS has been to capture the motivations which prompt them, thereby strengthening various forms of social intervention among low social status women.

An example of the context analysis will be found in Poitevin & Rairkar (1996) " Stonemill and Bhakti ", D.K. Printworld, New Delhi. The insider's perspective is highlighted in communications to seminars, e.g. Grindmill songs and animation, by Tara Ubhe and A performance capacity reactivated by Kusum Sonavne.

Since 1995 the documentation on grindmill songs is completed with sound recordings in digital format which are classified in the database. This new bulk of data (which currently contains more than 30 hours of selected recordings covering about 22 villages) is an important reference material, both for the study of the performance itself, which otherwise is blurred sby the descriptive transcription of song texts, and for the study of tunes related to different subjects, geographical areas and social groups.

In 1996-97 I undertook classificatory work of the melodic repertory contained in this database. About 100 tunes have been identified and partly classified. This work was the subject of my Master Degree in musicology under an agreement between CCRSS, the Centre des Sciences Humaines (CSH, New Delhi) and Aix-en-Provence University.

This initial work highlighted the need for new analytical tools that would lend themselves to tonal classification in a musical system devoid of explicit musical rules. Further, it outlined inconsistencies in the concept of "musicality" from the points of view of performers/listeners belonging to different social groups.

It is clear that a thorough study of the practice of singing at the grindmill will involve an integrated approach combining the discursive elements of text, melody and para-musical components such a gesture, intention, group communication, etc...

During my first PhD year (DEA), I came across new analytical tools able to account for discursive, argumentative, rhetorical structures inherent to musical forms, which may not necessarily be isomorphic to the same structures in the song text. My study will therefore focus on specific musical structures and attempt to link them with language-discursive structures encountered in the text. As a starting hypothesis, a parallel may be drawn between melodic patterns and the prosodic intonation patterns of speech.

It is hoped that the "deciphering" of communication patterns in an oral popular tradition will bring new insights into emerging sciences of music (as exemplified by endeavours such as the international project on "Musical Signification") which so far have almost exclusively rested upon a classical hermeneutical deciphering of musical "text."

Maharashtrian Musicians at Gwalior...

The popularization of classical music in Maharashtra began through Gwalior. The Maharashtrian-Brahmin singers of Gwalior were greatly benefited by the current Gwalior school of music. Many of the pupils of Hassu and Haddu were Maharashtrian Brahmins among whom were eminent singers like Babasabib Dixit, Vasudeva Rou Joshi, and Balasoheb Guruji. Their disciples have preserved classical traditions to a great extent. We also owe a lot to the Maharashtrian disciples of Nissar Hussain (of Hassu-Haddu family). The late reputed musician Shanker Rao Pandit was very famous and very favourite among his followers. Music-lovers still recall Shanker Pandit's name with great love and respect. His son Krishna Rao Shanker Pandit is a wel known musician of Gwalior, and is running a Music school in his father's name-"Shanker Gandbarv Vidyalaya".

Raja Bhaiyya Poonchwale:-the Principal of the "Madho Sangeet Mahavidyalaya" is another reputed disciple of Shanker Pandit. He had the privilege of learning a large number of Dhrupads from the great Dhrupadiya, Wamanbuva Deshpande ; and later on, Khayals from Shanker Pandit. What was more, since the opening of the Pandit music school, he was for a long time able to avail himself of Bhatkhand ji's valuable association and Guidance -thanks to which today raja Bhaiya is regarded as a skilled singer and a learned scholar in the art of music.

Chaturpandit Bhatkhandeji:-The Madho Sangeet Mahavidyalaya is the triumphant fruit of Guruvarya Bhatkhandeji's selfless endeavours and a proof of Madhav Rao Mahara 's lofty musical tastes and patronage of music. This and similar schools of music have contributed in no small measure to the revival of interest in classical music which had cooled down to a deplorable level. Among the long array of Maharashtrian musicians who went to Gwalior and achieved commendable mastery over the Gwalior-style of ragdari sangeet, comes the name of Balkrishnabuva-a pupil of Vasudevrau Joshi.
After under going a prolonged training, he returned to his native town and devoted the rest of his life rekindling musical tastes among his people. The most eminent of his pupils of course was Vishnu Diagambar Paluskar whose name is familiar to all. We all know how ceaselessly lie strove to popularise music by establishing music schools at various places. But his training and efforts were not comprehensive. The limitation may have been due to the queer circumstances of those days when musicians selfishly concealed their art. Anyway Digambar did revive interest in one aspect of our music-namely, the devotional aspect of it (Bhajans) and for this we shall be always grateful to him.

Balakrishnabuva's son Annabuva was a good musician but he died prematurely. The former's disciples Anantbuva Joshi of Oundh and Mirasibuva of Poona are two of our contemporaries. They have tried to Preserve the musical traditions of their schools. Another pupil is Gunduhiiva whose son is still the court musician of Ichalkaran" Classical music penetrated into Maharashtra from Gwalior, but since its penetration there, it has undergone numerous changes, under various influences. For instance, good musicians of Aera, Delhi, Jaipur etc., migrated into the big cities of India (Bombay, Calcutta and Madras ) when they ceased to get royal patronage ; and in these big cities they were forced to earn their livelihood by giving music performances. The names of Tanaraskhan, Haider Khan, Nath ti Khan, Mahmud Khan, Miyajan, etc., are familiar in this connection. They have influenced music in Maharashtra to a great extent. Though the original G Gwalior-style is rarely to be heard in its pristine purity today, the traditions have been preserved to some extent luckily

Dances of Maharashtra

Maharshtra, is a land of culture and traditions, where religious festivals are great occasions of social entertainment. Various folk dances are performed during festive or special occasions, representing rich its cultural heritage.

Lavni

Lavani is a combination of traditional song and dance, which particulary performed to the enchanting beats of 'Dholak', an drum like instrument. This dance is performed by attractive women wearing nine-yard saris. The women gyrate on the pulsating beats of traditional music.

The word Lavani originates from "Lavanya", meaning beauty. Earlier, this art form dealt with different and varied subject matters such as society, religion, politics, romance, etc.
Lavani was used as a form of entertainment and morale booster to the tired soldiers during the 18th and 19th century Maratha battle. Many famous Marathi poets like Honaji Bala, Ramjoshi, Prabhakar, etc. contributed to the popularity of Lavani.

Dhangari Gaja

This particular dance form is performed by Dhangars or shepherds of Sholapur district of Maharashtra. The Dhangars earn their living by rearing sheep and goats. Their poetry is mainly inspired by the evergreen trees all around. The poetry is in a form called 'Ovi' which is made up of couplets. These poems also contain tales of the birth of their God "Biruba", in simple and basic lines.

The Dhangari Gaja Dance is performed to please their God for his blessings. The traditional Marathi dresses that Dhangar dancers wear are, Dhoti, Angarakha, Pheta and a colorful handkerchiefs. The group of dancers surround the drum players and move at the rhythm.

Povadas

Povadas are Marathi ballads, describing the events in the life of the great Maharashtrian leader, Shri Chhatrapati Shivaji Maharaj. He holds a highly respected position in the hearts the people of Maharashtra. Through these ballads they remember Shivaji, a great hero of his time.

Koli

Koli is one of the most popular dance form of Maharashtra that derives its name from the fisher folk of Maharashtra - Kolis. These fishermen are famous for their distinct identity and lively dances. Their dances consists elements from their occupation that is fishing.

This dance form is performed by both men and women, who are divided in groups of two. These fishermen portray the movement of the rowing of a boat in this dance form. The dancers also portray the movements of waves and the casting of nets to catch the fish.

Tamasha

Tamasha is one of the most important form of folk theater of Maharashtra. The word Tamasha is Persian and means fun or entertainment. This form is a blend of several different influences. Some scholars believe that this form of theater has been inspired by two forms of Sanskrit drama - the "Prahsana" and the "Bhana". This dance form developed in 16th century. The love songs ('Lavanis') are the heart of Tamasha and are very popular. Instruments used are the Dholki drum, 'Tuntuni' (a single string instrument), 'Manjeera' cymbals, 'Daf' (a tambourine-like instrument with a single leather surface), 'Halgi' (smaller Daf), the metal triangle called 'Kade', the 'Lejim' (an instrument with a jangling sound), the Harmonium and 'Ghunghroos' (ankle bells). Tamasha is associated with two of the communities of Maharashtra, they are Kolhati and Mahar.

Religious & Festive Folk Dance

Folk dances generally evolve from the rural areas. In Maharashtra different folk dances are performed during festive occasions that represent their culture and merry-making.

Dindi

Dindi is a folk dance of Maharashtra that is usually performed during Ekadashi day in the month of Kartik. This religious devotional dance describes the playful attitude of Lord Krishna. Dindi is a small drum, like a 'Tamate'. The dancers dance to the rhythm by surrounding the musicians, providing the essential musical background.
Kala

Kala is another folk dance form that describes the playful attitude of Lord Krishna. This dance form features a pot symbolizing fertility. The main attraction of this dance is the beat and the rhythm.

WATCH LAVNI HERE

Dhangari Gaja

As the Dhangars of Sholapur district of Maharashtra herd to green pastures for grazing for their cattle, they become acquainted with the nature. Inspired by the scenic beauty, they compose poetry, called ovi writing about the nature and their God Biruba.

They honour God Biruba once in every year when they return home. They spend their time with their families and beloved ones. And this is the time when the Dhangari Gaja dance is performed to please their God for His blessings.

Dhangar dance is performed in traditional Marathi dresses - dhoti, angarakha and pheta with colourful handkerchiefs. Generally, during they dance, they move around a group of drum players.

Dhangari - Gaja

All the Dhangars ( Shepherds ) of Maharashtra believes God 'Biruba' . Dhangara earn their living by rearing sheepos and goats. They keep wondering with then in mountain' valleys and ground. In their day to day activities they sing poetries; mainly inspired by mountains, evergreen trees all around ; and love they share with cattle. The poetry is in a form called 'Ovi' which is made up of rhymes. These poems also contains tales of the birth of their God ' Biruba'. They also make poetries called ' Sumbaran' which is in the respect of their God Biruba this way they praise the God.

Dhangari Gaja dance is performed to please their God for his blessings. The traditional Marathi dresses that Dhangar wear are' Dhoti, Angarkha, Pheta; and colorfull handkerchiefs. The group of dancers surrounds the drum player and moves at the rhythm. Another 'Ghana' instrument called Khaital is also played by some instrumentalist while dancing. &nbs p;

Koli (Maharashtra)
The Koli dance derives its name from the Koli tribe of Maharashtra. The dances of Kolis incorporate all elements of their surroundings. The Koli dance is performed by both men and women - divided into two groups. The main story of the dance is enacted by the smaller group of men and women. In this dance the Kolin or fisherwoman makes advances to the Kolis or fishermen.