World without music is considered as a body without soul. Music is considered to be the food of soul. As Shakespeare has very aptly emphasized the need of music in one’s life- ‘If music be the fruit of love carry on’. It is likely that the various sounds in nature which sounded pleasant to human ears became the source of inspiration for creating music. Chirping of birds, streams flowing down the mountains, waterfalls, rising waves in the ocean, rustling leaves in the blowing wind, dark thundering rain clouds all these sounds may have been the contributing factors. Emitting fragrance of the soil, folk music, in particular, appeals more to our senses and makes us feel closer to our culture. While listening to the folk music we can have a feel of the soil we come from and feel the strength of our moorings. Various theories have been put forward by researchers to ascertain the origin and evolution of music, but the fact that music is a perfect art and our lives would be much less complete without it, cannot be denied.
In India the origin of music is traced to the Vedic age with the formulations of various ragas (Musical Notes). Some of the ragas are named after the particular region suggesting the influence of local folk style e.g. raga Gujari from Gujarat, Mand from Rajasthan, Pahari from the areas near foothills of Himalayas. Indian music is said to have emanated from the blend of ritualistic music in association with folk music. Being a country of diversity India has varied folklore from various regions and each region has its own unique folk tradition. In the northern most part of the country and encircled by the majestic Himalayas lies the beautiful vale of Kashmir. beauty of the valley has all along been the theme and subject matter of poetry, songs, paintings and other form of art. Folk music of Kashmir is accredited with commemorating the picturesque landscape in lyrics. The history and tradition of folk music and dance in Kashmir valley dates back to thousands of years. Folk music of Kashmir is like any other form inspired from various social and cultural influences that took place in the historical past of the valley. It can be said that Kashmiri music was born out of the amalgamation of diverse elements. The form of music and musical instruments like sarangi, rabab, yaktar, santur used in the Kashmiri folk music denote an outside influence. Chief contributions came from Persia and Turkistan. It is said that main schools of music were founded in the valley by Irani and Turani musicians in the reign of Zainu-l-Abidin also known as ‘Badshah’ who had been the Sultan of Kashmir during 15th century.
Various scholars who have worked in the area of Kashmiri folklore attribute the origin of the folk music to some unknown bards of the 10th century. These bards were the founders of folk music of Kashmir. Folk ballads recited and sung by wandering minstrels were very popular in villages of the Kashmir. The themes have been categorized pertaining to the content, and the themes were opera, mystic songs, romantic ballads, dance and pastoral songs. There are other folk songs sung on occasions like wedding, etc.
There are songs and forms in which village life is clearly reflected. Sehri, Naindabaeth and Hukhabeth are three prominent styles of folk singing with plates, pitchers or bells which village folk enjoys while sitting under chinars and willows. Naindabaeth is usually sung by men and women while working in paddy fields. At the end of harvests hukhabeth are sung accompanied by Rouf (popular folk dance of Kashmir). It is a warm gesture of merry making. Rouf dance is performed by young ladies by interlinking each other’s arms. Beautiful traditional dress and ornaments are worn during the dance.
No wedding is complete without enchanting music. During weddings bridegroom’s mother and elderly ladies sing in chorus, which is called ‘Vanvun’. Vanvun is the essential part of all wedding ceremonies like ‘mekhal’ (Janev) Garnavaya (house leaning and washing), Dapun (personal invitation of guests for the approaching function), Manzirath (heena dye and night singing), Kroor (after a white wash flowery decoration at the main door), Shran (sitting on stool and dropping milk, curd and bathing), Devgun (welcome to vedic gods), Varidan (gifts to the relatives), Yagnya (holy fire), Tekya Narivan (holy mark on the forehead and sacred thread tied around the wrist), Kalash Lava (after the worship of Kalash, sprinkling of water) etc.
There are songs which are associated with various seasons, in the season of spring the Kashmir valley is scintillating with splendid fruit trees and blossoms, the young shepherd girls sing songs expressing the beauty. Songs sung during this season are called ‘sonth gyavun’. Sonth in vernacular language means spring. Cradlesongs or lullaby is called Lalnavun in Kashmiri language. Mother sweetly hums songs, while her darling rests in cradle. She compares the little one with her earring, which is the loved ornament. Mother prays for the long life of her child in the lullaby.
The boatsmen of Kashmir are a very hardworking race. They are called ‘Hanjis’ and are believed to have descended from an ancient racial group. Essentially the Nishads, they have excellent knowledge of boat craft. They make their living from the lakes of Kashmir. The folk songs of these boatmen are called ‘Hainzbaith’, having their own content and style.
There is also a classical touch observed in the music of the valley, which is said to have been borrowed from Persia probably during 15th century. This form is called Sufiana Kalam. It contains various Maqamat (notes), which show some resemblance to Indian Ragas and bear names like Bhairavi, Lalit and Kalyan, while many have Persian names as Isfahani, Dugah, Punjgah, Iraq, Rast-i-Farsi, and Sehgah. The most prevalent tals are Sehtals, Nimdurs, Dur-I-Khafif and Turki zarb, These Tals are different from those used in Indian classical music. Sufiana Kalam is always sung in chorus. Sufiana Kalam is soft and sobre to hear. The melody is known as Shakal. It is accompanied by a hundred stringed instruments called Santur. Sufiana Kalam has been the music of choice among sufi mystiques of yore. The verse in these kalams are very devotional and spiritual in their theme. The verse about grace and beauty of nature also form their theme. A part of Sufiana Mousiqi is Hafiz Nagma in which a female dancer accompanied by a number of males moves her feet to the musical notes. Amongst the most popular forms of folk music well known in Kashmir, is Chhakri. Once performed with the help of only Garaha, Sarangi and Rabab, Chakkri has included harmonium also in its presentation. This influence comes from Kashmiri Sufi music. Other forms are Bhand Pather and Ladishah. Ladishah is a sarcastic form of singing which contains satire on the prevailing socio-political conditions. The traditional forms and styles of Kashmiri music have survived turbulence over a long period of time despite undergoing vicissitudes. It has acted as the bonding factor and is instrumental in retaining communal harmony. Various efforts are being made to revive the musical traditions of the valley.
Article written by – Shri Kanhaya Lal Bhat (Gul)
Author is originally from Kanya Kadal , Srinagar , presently residing in Delhi.
Hasan Mohibbul, Kashmir Under The Sultans, Delhi, Aakar Books, 1959(First Published), 2005
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Kaw M.K, Kashmiri Pandits: Looking to The Future (Music of Kashmir by Sapna Raina), New Delhi, Kashmir Education Culture and Science Society.
Rajkumar, Essays on Indian Music, New Delhi, Discovery Publishing House, 2003
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