de kulture music

a r t i s t s c a t a l o g u e 2 0 1 1 - 1 2

de kulture music
a r t i s t s c a t a l o g u e 2 0 1 1 - 1 2

First Edition, 2011 Printed In India This catalogue is published by De Kulture Music Private Limited. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, without prior permission in writing from the publisher. Marketed & Distributed by De Kulture Music Private Limited. Website : www.dekulture.com Email : info@dekulture.com Telephone : +91-141-270-0926 +91-141-402-3967 (c) Copyright 2011 De Kulture Music. All rights reserved.

Preface
De Kulture Music religiously strives to give the listener an Set up in 2005, De Kulture Music (p) ltd. is in conscientious authentic avor of the uniqueness of a region encouraging pursuit of bringing out the diversity traditionally inherent in traditional artists to choose and perform songs closest to regional Indian music that is presently under a constant their heart and which are true representations of their threat of homogeneity wishing to devour its richness from historicity and culture. The aesthetic sonority of such folk all quarters. The methodology to bring this aim into a performances amounts to a heart warming experience of sustainable concretization has been to reach out to artists in being witness to music in its primordial, originary form the countryside, build up a data base of the genres and where it is yet intimate to the phenomenon of being and not styles in existence and record paradigms of each in the lost to a cultural explosion that imposes more than it can respective contextual setting. At present the company has a ever express. Such music has the potential of being made portfolio of over 50 albums and 700 tracks from 500 meaningful in very di erent cultural contexts across the traditional singers and instrumentalists. Each audio recordworld and therefore we now o er personalized and profesing in an album is accompanied with detailed documentasional services to meet speci c needs of themes and tion of the information as regards the artist, the genre and concepts of festivals and events in India and abroad. We are the history of the region, complemented with photographs striving towards artistic development of folk musicianship to ensure a comprehensive understanding of the art at and exchanges between multiple world cultures by organizhand. Simultaneously our endeavors in album publishing, live shows, digital downloads, mobile ring tones and i s t s c a t a l o ing e 2 0 1 1 - 1 2 and workshops across the globe and art g u performances therefore looking for festival organizers, event companies licensing, help promote the artists, their music, traditions and concert promoters matching our pro le and interests to and culture. The company has been representing some of collaborate with, to take our fundamental pursuit to hitherto the Indias most exciting artists for performances across the unprecedented levels of accomplishment and richness. world and has been showcasing traditional music and new artists in refreshing ways.

Content
Artists Name
Raza Khan Meetha Khan Su Music Folk Dances Traditional Songs Mustafa Ali Jat Gurmej Raja Bachhu Khan Langa Multan Khan Bijal Khan Mehar Harikesh Singh Dalbar Singh Mohan Lal Prabhudayal Jangid Daluram Bheel Murra Lala Fafal Gurmeet Bawa Jagat Ram Lalka Balvinder Mast Dana Bharmal

S.No.
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17

Content
Artists Name
Babunath Jogi Narata Ram Puran Singh Arshi Spiritual Music Instrumentals Jasdev Singh Aamin Khan Gurnam Singh Sukaria Nar Fafal Ghevaram Vela Dhana Bheel Bikhe Khan Kanwru Khan Ilahu Khan Noor Mohammad Soda Kambhir Khan Gyan Singh Memi Manohar Brass Band

S.No.
18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33

1. Jede Vi Darte

Raza Raza Khan Khan

The Su methodology of reclamation of the soul from the worldly and its upliftment through music and poetry to reach out to the eternal, godly element nds an unparalleled exponent in Raza Khan- a Su singer, musician and composer from the town of Amritsar, India. True to the Su tradition he sings the insightful lyrics of Su poets in the form of Ghazals, Qawwalis, Kalams and Ka , mostly in Urdu and Punjabi, to the tunes of Harmonium and rhythm of Tabla. He was born in Batala (Punjab) and started learning music at the age of seven under Ustad Shafqat Ali Khan, who belongs to Sham Chourasi Gharana, a ve hundred year old musical tradition from Hoshiarpur, Punjab. Raza Khan, a devout Christian is an embodiment of the secular tenets of Su sm and belongs to the Mausiki Gharana. His ancestors were related to Tansen, one of the greatest exponents of Hindustani classical music. He displays an extraordinary vocal range that parallels the accompaniment of the harmonium regardless of the upper or lower range it may exceed to. The transition from modular vocals to falsetto is made with characteristic ease and it is the long sustains in the upper register that set him apart from other mainstream Su artists in the world. His music displays completeness in its simplicity and yet the intensity of his performances enables the listener to identify extensively with the feelings of surrender and devotion to the Almighty.

2. Sorat-Koviyari Raag

Meetha Khan
Meetha Khan
Meetha Khan and Jan Mohammad Jat inhabiting the remote village of Bhaagadia in the Rann of Kutch, have the distinction of being proponents of possibly the rarest of the rare music genres in India- the Waai style of music. Tracing its genesis to the elemental human need to call out to the divine by way of music, the Waai style was passionately created by the celebrated Su saint Shah Abdul Latif Bihtai of Sindh. The rst exponents of this style that is sung in Kutchi, Sindhi and Punjabi were the fakirs (followers) of Shah Latif. Meetha Khan and Jan Mohammad Jat are descendants of the Jat Muslims from Baluchistan who traversed the rugged terrain and colossal distances through Sindh and brought this invaluable genre to Kutch in Gujarat. Sung along with the Dhamburo that bears resemblance to a Tambura, however is much bigger and features a total of three or ve strings, the Waai style of music seeks to amalgamate the human spirit with that of the Supreme Lord. As Meetha Khan sings in his high pitched voice it is not di cult to see that it is an incredibly complex genre to master and yet there is palpable an unmistakable sense of transcendence. With only the root note of Dhamburo as the accompanying music Meetha Khans rustic voice travels from one octave to another very smoothly. Initiated with a Bheth, the Waai goes on to gain tempo and is an exquisite form of spiritual music characterized by elements of harmony and purity.

Mustafa Ali Ali Jat Mustafa Jat

Bheth is a sub-genre of Su music in which short verses of profound poetry are sung autonomously or fused together with a Ka or a Waai. Mustafa Ali Jat, a vocalist belonging to Kutch has inherited this beautiful art form from his ancestors, the Jat muslims who brought it from Iran via Sindh province in present day Pakistan, to Kutch in India. Traditionally the Jat Muslims are maldhari or cattle herders and singing in this genre is a part of life for them more than being a performance. Bheth is embellished with the musical notes of the Surando accompanied by percussions such as Ghada (earthern pot) and Ghunghroos (ankle bells). Bheth is the rarest of music genres in India not only in terms of the character of its singing but also because the quaint art of playing the Surando which provides the lehra (successive playing of same melody to create a continuous milieu for the vocals) for the singing perhaps has only one living exponent named Osman Jat. Brought to life in the provinces of Sindh and traditionally used by the Fakirani Jat community in the areas of Kutch, the melodiously rich Surando, is regarded to be a tricky stringed instrument to master. Crafted intricately, the base of the Surando is fashioned from a single piece of wood to create the most precise shape and perfect melody and its bow is strung with hair from a horses tail. Mustafa Ali sings haunting melodies on a high pitch but in a soft, sonorous voice and rendering long, sustained notes is typical of his episodic, philosophical recitals.
3. Umer Marvi

Gurmej Raja
Gurmej Raja
As the lead vocalist of a group of nine performers, Gurmej Raja is a Su Qawwal a devotional singer who sings compositions in praise of the almighty and holy saints to the tunes of Harmonium, the rhythm of the Tabla and clapping. The Qawwali style of music, having originated in 8th century Persia, is conventionally performed at the Su shrines and dargahs all across the vast subcontinent now and is the exuberant expression of heightened spiritual ecstasy. Replete with strong secular and sometimes self-indulgent views it is traditionally sung in Urdu. Raja belongs to the Rasulpur village of the Gurdaspur district of Punjab and learnt from master Bakhshir Raslpuri and the famed Vadali brothers. With a rustic, open-throated voice he conducts the Qawwali, also known as Meh l-e-Sama and the backing vocalists adorn the style by repeating the key verses thus bringing about a sense of building up and further imploring the almighty. This heightening of tempo and passion are physical manifestations of the intangible wish to sever all bonds to perceived reality and lose the self in a rhythm that helps one to be in tune with the cosmos. The crescendos are punctuated with moments comprising of vocal or instrumental acrobatics and/or recital of a verse, that are of a character outside the signature rhythm to further accentuate the upsurge toward a cathartic, orgasmic moment of unity with the sublime.
4. Amir Khusrao

Bachhu Khan Khan Langa Bachhu Langa

Bachhu Khan, Sayar Khan and Idu Khan are the famed Langa artists from the Barmer region of the Thar Desert in Rajasthan. Performers of a genre that is very close to the Hindustani classical tradition, they are adept at singing and their accompanying artists are pro cient at playing instruments such as the Sarangi, Murli (a woodwind instrument), Surnai (a woodwind instrument), Algoza (double ute), Morchang (Jewish harp) and Khartal (castanet). Glorifying aspects of love in their mother tongue Marwari set to highly ornamented tunes, they sing at social festivities. Descendants of court musicians of yore, the music of the langas is darbari (royal) in character, though in the present times their main occupation is camel trading. On occasions such as marriages, engagements, births they are invited by their yajaman (patrons)- the sindhisipahi to perform and are remunerated for the same. Their compositions set to the echoing sounds of the Sindhi Sarangi speak of the loss of separation, the joy of unison and the magical love stories that are an indelible part of the history and culture of Rajasthan. Bachu Khan has a high pitched, open throated, rustic voice and the backing vocalists sing in unison with him to the accompaniment of woodwind and string instruments which follow the melody of vocals during the performance.

5. Bana Re Mharo

Multan Khan
Multan Khan
Facing an audience as they sit in a slight arc dressed in traditional desert attire with the famed dunes of the Thar as the mesmerizing backdrop and presenting a composition that keeps alive a music tradition going back 820 years, the Manganiyars from Barmer add unparalleled color and zest to any celebration. Singing of romance in the darbari (of the royal courts) tradition at all kinds of festivities Multan Khan, Luna Khan and their group perform with the Harmonium, Kamaycha, Dholak & Khartal. Manganiyars, regarded as the most versatile singers and instrumentalists in Rajasthan, are Muslims and serve both Hindu and Muslim patrons. Be it the thematic of the arrival of a royal procession, an ode to a local song bird or a religious ritual sung in the local semi-classical genre called Jangda, the Multan Khan group brings agrant energy and joy to the presentation. Kurjan songs are typical to this area; Kurjan are demoiselle cranes- migratory birds and their journey has long been interpreted by the local cultures in metaphors of separation from, longing for and union with a beloved which has resulted in a rich heritage of folk songs expressing the same. Multan Khan summons the bird into his renditions in a beautifully imploring and entreating manner. The group sings in an emotive, high-pitched and expressive style experimenting with a lot of rhythmic patterns in the space of one composition.
6. Balam Ji Mharo

Bijal Khan Mehar Bijal Khan Mehar

The poetry of Su saints Bulleh Shah and Shah Latif comes alive in the vocals of Bijal Khan, a spiritual singer from the Meher community of Barmer. He renders Su Kalams in a mix of Sindhi, Urdu and Punjabi alongside the sonorous sounds of Kamaycha, Khartal, Harmonium, and Dholak. A Su Kalam manifests the Islamic philosophy of Su sm through a communion with the almighty and thereby attempts to interpret the nature of existence. The term Kalam comes from the Arabic for conversation; the singer at all times addresses the divine authority which is referred to as the master, beloved or the truth at di erent instants across the piece. Extolling the virtues of justice, peace, unity, secularism and love the Su Kalam is the expression of an intense process of coming closer to the almighty and ultimately becoming one with it. Bijal khan is a practicing philosopher and conveys the themes of supreme authority of Allah, the unity of being and existence and the signi cance of spirituality for human life, in his compositions. At times he sings of tragic love stories too. He sweeps through a dynamic range of notes in a single rendition, in his characteristic high pitched, rustic voice.

7. Allah Jane

8. Kud Pade Bajrangi

Harikesh Singh
Harikesh Singh
The Saharia Tribe (also known as the residents of the forest) is the only primitive tribal community of Rajasthan. Speaking a dialect known as Haroti that is dotted with the essentials of Braj bhasha and Hindi, they possess a rich cultural tradition comprising of song and dance. Swang Nritya, literally implying drama and dance is one such paradigm. Harikesh Singh is the head of the Sahariya group from the Shahbad village of Baran district of Rajasthan, that has been orchestrating the energetic, colorful and theatrical performances of Swang for quite a few years. Signi cant folk songs like Langhuria, Fag and Rasia are sung with the accompaniment of Harmonium, Dholki, Nagri, Ginghra and Majhira and tales of various Hindu deities and gods such as Lord Rama, Lord Shiva and Tejaji are presented by way of dramas. An episodic presentation punctuated with songs and an indigeneous form of dance, Swang Nritya is put up by a group of ten or twelve men. It involves mimicry, theatrics and dialogue and in part is also a story telling. The audience is addressed with prompts in the form of questions, teasers or comic comments and woven into the enthral of the performance. Mostly performed during a popular Hindu festival of 'Holi'( the festival of colours), this dance drama is celebratory in character and usually ends with the victory of good over evil. Body Painting and face masks are often used and themes are largely drawn from mythology, folklore and religion.

Dalbar Singh Dalbar Singh

Malwai Giddha is a traditional dance form of Punjab performed by the men as they sing and dance simultaneously to celebrate a festive occasion. What sets this form apart is the fact that Giddha- literally meaning the rhythm of clapping- is commonly associated with women, and this is the only example of men making a foray into the art form. Each participant plays one of the following instruments: Bhukchu, Dholki, Algoza, Ektara, Chimta, Sap, Kato, Ghada and Gadba and balances it in such a manner to be able to dance while carrying it. Usually performed when the groom returns home with the bride and the marriage party, it an informal collective celebration rather than a performance. It begins where a lead vocalist sings a few lines addressing the others and builds up the emotional tempo to a point where the backing vocalists join him and this is when the instruments are played as well and all dance to the rhythm that reaches a crescendo and then is brought to a cadence to lower the pace to a halt. Once again the lead vocalist sings to continue the cycle and is encouraged in his solo rendition with joyous cries from the other participants. The themes revolve around romance and relationships with the in-laws thereby giving the performance its tease and rhapsodic raptures, compounded by the furious beating of the Dholki. A detuned Algoza (a local woodwind instrument) continually produces the same notes and melody in succession thereby providing a suitable backdrop for the vocals.

9. Aai Milan Vich

Mohan Lal Mohan Lal

Mohan Lal and group perform the Bhangra, Luddi and Jhummer dances traditional to the culturally rich land of Punjab to the accompaniment of the energetic, joyous and rhythmic sounds of two Dhols and a Chimta. Originating in the cultures historic response to a good yield, a successful business venture or the uplifting feel of the season of spring, the dances have changed form over the years, yet the group has been able to keep alive the avor of yore. The Bhangra is a celebratory dance form that marks the season of harvest which culminates in the festival of Baisakhi. The Luddi is another graceful dance-form originally performed by men to celebrate any sort of victory but now women participate too. It is similar to the Bhangra but like the Jhummer is much slower in tempo. Luddi performers place one hand behind their heads and the other before their faces and sway their heads and hands mimicking the motions of a snake. It is usually performed in a circle formation around the Dhol player but sometimes can be conducted as a procession too. Mohan Lal and his group hail from Gurdaspur and perform at various fairs and festivals across Punjab, bringing a lot of fun and excitement to the celebration. The dancers sing bol or lyrics in the local Punjabi dialect- Majhi to the accompaniment of folk tunes. Their bright and colorful costumes complete with festive turbans and mirrored waist-coats complement and enhance the spirit of the dance forms.

10. Bhangra - Gurdaspur

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Prabhudayal Jangid Prabhudayal Jangid

The Shekhawati belt of Rajasthan boasts of a style of music so intimate and simple in character that to call it a performance would almost be to misunderstand it! A paradigm of community singing, dancing and bonding, Dhamaal - loosely translating to a group having a good time- is a music best described as a collective, informal celebration of life itself that o ers ample opportunity for anybody to join in. A style above the caste divide where a group may comprise of a Brahmin, Khati, Rajput, Meghwal, Harijan and Jat, it is usually conducted all night, for one month, prior to festival of colors called Holi, in the Shekhawati region. Prabhu Dayal Jangid and his group are Dhamaal specialists from the Churu region and sing of devotional, romantic, wedding related and even intoxication endorsing themes to the music of Chang (simple at drum), Bansuri ( ute), Ghunghroo (ankle bells), Manjeera & Dholaki. The presentation is also at times referred to as Chang Nritya in recognition of the instrument that provides its characteristic beats. The sophisticated melody of the Bansuri brings to mind countryside music forms and is reminiscent of the love stories of Krishna playing the ute for his beloved Radha. The dancers tie Ghunghroos at their ankles to accompany the beats of the Chang and Dholaki. A down-tempo rhythm pattern on Chang makes for a soft, soothing and easy listening folk music which is an exception in the Indian festive music genre that is usually upbeat and fast in rhythm.

11. Rasto De Shyam

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Daluram Bheel Daluram Bheel

The Bheel tribe, one of the oldest inhabitants of southern Rajasthan is the proud owner of a heritage handed down by many successive generations comprising of tribal rhapsodies, richly tinted with complex and alluring harmonies. The devotional music they come to create in the social collective pays obeisance to a pantheon of Hindu gods and at the same time is celebratory in emotion. Music is created from objects in immediate vicinity like the metal plates used for eating, ankle bells (ghunghroo) and simple instruments like Jhanjh, Manjeera and Madal. The Bheels, traditionally are hunters and gatherers and the unpredictable nature of this existence creates a greater need for intensi ed social interaction that can give rise to a sense of belonging. Gavri Nritya, a semi musical and theatrical religious ritual exclusive to this tribe of Mewar province, beautifully ful ls this need as the villagers celebrate it across a forty day period during the rainy season. It is dedicated to goddess Parvati (wife of Lord Shiva) and alongside that many other stories that narrate the valor of local deities and gods like Ganesha, Krishna, Radha and Amba ji are enacted. Animal masks and colorful costumes de ne the performance that is punctuated by soulful bhajans- devotional singing and encourages mass participation.

12. Krishna Bhajan

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13. Chalade Aye Rulaiyi

Murra Lala Lala Fafal Murra Fafal

Murra Lala Fafal is a Ka singer belonging to the Marwada Meghwals, a Hindu community living in the Rann of kutch in Gujarat. The Ka sung by Meghwals is su music and has a strong in uence of Bhajans- another genre of devotional and philosophical music in India. Ka s are commonly sung at Hindu festivals in this region alongside the staple Bhajans. The subjects can at times be romantic and wedding related as well and this is typical of folk genres where no strict thematic boundaries can ever be drawn. Fafal is accompanied by Kanji Rana Sanjot who plays the Jodiya Pava- a local woodwind instrument. At times the vocals are complemented by the notes of a Santaar (string instrument) and/or Ghada Ghamela (percussion instruments). Singing in native Kutchi, Murra Lala renders emotions of separation and union of lovers in songs. He also sings the verses of Indian and Su Saints and some compositions have a distinct avor of the occult, the philosophical and paths of attaining enlightenment. In a high pitched voice with a texture rooted in the soil of his motherland he goes on to create very dynamic compositions within which there is an identi ably smooth transition across di erent notes.

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14. Boliyan

Gurmeet Bawa
Gurmeet Bawa
Extremely popular in the region of Punjab and especially in Amritsar, Gurmeet Bawa, a Sikh, is a versatile singer whose repertoire includes the folk styles of Boliyan, Mahiya and Tappe which stand out from the genre of Punjabi Folk music owing to an exuberant, up surge of tempo and a rhapsodic informality. She was born in Kothe village of Punjab and learnt under Master Narendra Chanchal and has been performing for the last three decades. Her singing is a typical example of participatory, social music rendition where all who are present are incorporated into the festive ow. The Algoza, Matka, Dholak and Tumbi give it the quintessential upbeat Punjabi avor which is enhanced by the incessant clapping by those present. There is conversation, tease, avowals and even sexual overtones to the songs that largely revolve around themes of romance, marriage, in-laws, festivals and seasons of Punjab etc. The lyrics are never stringently structured, all that matters is the punch line and its rhyme with the others- though the whole may almost sound like a limerick! Names of friends and relatives are put in into the verses and there is constant improvisation in this very intimate, simple style of creating and savoring music. The resounding depth of Bawas earthy, energetic voice is only matched by the zest and alacrity that her accompanists render the presentation with. Her long sustained singing of notes is an integral part of her style and imparts the performance with elaborate punctuations across its ecstatic space time.

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15. Pir Muradia

Jagat Ram Ram Lalka Jagat Lalka

Nothing can match the evocative prowess of the notes of a detuned Tumbi, a single stringed traditional north Indian instrument that produces high pitched sound, in bringing to mind the vibrant culture of the province of Punjab. Add to it a folk song and the sensitized vocals of an artist the stature of Jagat Ram Lalka and there is at hand a glowing paradigm of the Punjabi folk music. A Sikh from the town of Ambala, Lalka is both a singer and a Tumbi performer. Along with the Algoza, Dholak, Ghada, and Chimta, the music of the Tumbi formulates a time-honored accompaniment to songs of valor, courage, love and spirituality. Jagat Ram Lalka was born in Fatehpur Sahib in a village called Tataniyan and learnt music for four years under Ustaad Sudhakar Ram. Many of his songs are ancient compositions passed down from one generation to the next; some are common folk tunes while others are in uenced by Hindustani Classical Music. In the dialect of Malwi he sings of episodes ranging from the lives of saints and war heroes like Pir Muradia and Veer Jodh to legendary love stories like Heer Ranjha and Sassi Punno. The renditions are energetic in tempo and get their merry character from his full throated and rustic voice. A single note of the Tumbi has the power to resonate deep into the labyrinths of shared cultural context and history and the simplicity of the lyrics as they speak of oft encountered passions and emotions makes them a potent metaphor of life and this is what constitutes the inherent appeal of Indian folk music.

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Balvinder Mast Balvinder Mast

Balvinder Mast, a singer/musician from Manjitha, Amritsar, personifying the meanings of the Hindi term mast- cool or fun- sings of love and separation set to the festive beats of a Dholak and Matka and the strains of Harmonium. He performs mainly in Majhi and Doaba, (Punjabi dialects) and his rich repertoire ranges from spiritual Su compositions o ered at a Pirs dargah (saints shrine) to the traditional lokgeet of Punjab. Lokgeet is a genre that re ects the lives and times of ethnic groups across India. A recipient of the prestigious Nur Puri award Masts musical style adheres to the Yamla Jatt Gharana and acquires its uniqueness from the purely instinctive decision he took in a moment of introspection to follow music. He has since been performing at a variety of locales across the globe, for the last 20 years. Pro cient at both the Harmonium and the Tumbi, (traditional north Indian stringed instrument) and armed with vocals that are as crisp as they are open throated and sensitive, his singing has a distinct rustic avor. The lyrics speak of the torment of separation, the thrill of uni cation, the sense of abundance love cloaks one with and trace their origin to the songs of the farmer folk toiling in the elds of Punjab. Be it a dialogue between lovers or a tragic love story passed on in folklore, Balvinder Mast renders it with zest and passion, as is characteristic of this region and at the same time has a measured approach to his expression.
16. Lok Boli

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17. Vitchidi

Dana Bharmal Dana Bharmal

An embodiment of the primordial human need to string thoughts to a beat and create music from simple objects to sing of themes of romance that are intimate with ones emotive self is a solo performer Dana Bharmal from the village Hodka in the Kutch region of Gujarat. Belonging to the Marwada Meghwals, he is a one man orchestra who plays the Ghada and Ghamela with his hands, upon the wrist of one of which is tied a string of Ghunghroos, and simultaneously sings the Ka . In musical terms, Ka has a religious avor and refers to the genre of Su light classical which utilizes the verses of Ka poets such as Bulleh Shah and Shah Latif. It is normally initiated and interspersed with Bheths/Dohas -short poetry verses expressing subtleties of love and the nature of existence. Sung in a dialect that comprises of Kutchi, Sindhi and at times even English, Dana Bharmals rendition takes one back to an originary context which had yet to di erentiate into de ned categories and speaks of an amalgamation of cultures as well. No melodic instrument is used in the performance and the artist makes ample use of his talent to modulate his voice as he sings of romance, separation and union.

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18. Shivji Ka Byawla

Babunath Jogi Babunath Jogi

Babunath Jogi, a devotional vocalist, plays the Jogia Sarangi and sings eulogies and folktales with his co-artists Surdas and Mehmood khan who accompany with the beats of Bhapang (rare single stringed percussion instrument) and the Dholak. Belonging to the Meo-jogi community native to eastern Rajasthan, he continues a centuries-old tradition of singing folklores passed on through an oral ritual spanning generations. Babunath Jogi, a philosopher in real life, is an embodiment of the concept of ramta jogi- a saint always on the move with little or no material possessions, who has denounced worldly pleasures and comes to revel in a journey toward eternal truth. He passionately sings of varying themes rooted in Indian mythology ranging from Lord Krishnas misadventures to the setting of the marriage of Lord Shiva. A popular folk tale from the region revolves around the King Gopichand who gave up his kingdom for devoting himself to the Nath Panth yogis and another one celebrates the brave and noble warrior King Ratan Singh. Babunath sings of these in his rustic vocals and a dynamic style that almost magnetically brings to life a shared history long forgotten and social bonhomie since lost. The strains of the Jogia Sarangi sonorously complement his musical story-telling set to a beat that seems to address the listener and entice him/her into the tale rather than just presenting a song to an audience.

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Narata Ram Narata Ram

India has a tradition of wandering ascetics who are continuously on the move and practice and preach a spiritual way of life through narrations, songs and poetry. Ninety year old Narata Ram is a Jogi Faqir who has been performing for the last sixty three years and is still going strong. The term Jogi refers to wandering Su saints and ascetics. The Muslim community that converted from the Hindu Jogi caste is referred to as Jogi Faqir. He is both a singer and plays a hundred year old stringed instrument called the Jogia Sarangi. Often he is accompanied by other Jogis with the rhythms of the Dholak and Dauru (a small handheld drum) and usually performs in a group of three. Singing in the genre of Punjabi folk music he renders compositions in the Pwadhi dialect, that depict a variety of elements relating to human life ranging from tragic love stories to historic narratives and nally to the almighty and the messages that have been sent for all men to hear and follow. Though his ancestors were farmers and he was once a Zamindar (land owner), he is now a traveling Jogi Faqir from Fatehpur whose music has philosophical and spiritual themes. He started learning music at the age of 5 under the guidance of his Guru- Punnu Ram Jogi. Narata Rams voice and the reverberance of the Jogia Sarangi have a distinctly earthy and emotive character. The singing of accentuated notes on the beat with weighted o beats on Dauru gives his performances a unique feel.
19. Changa

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20. Alankar - Manglachar

Puran Singh Arshi Puran Singh Arshi

Puran Singh Arshi is a lead performer of a Sikh Dhadhi Jatha- a group of musicians who sing a particular style of Sikh devotional music that began in the courts of Guru Hargobind. It is one of the three main music styles that were developed by the Sikh gurus and is an amalgamation of both classical and folk music of Punjab. Featuring the rhythms of the Dhadh (small hand held drum) accompanied by the unique sounds of the Sarangi (stringed instrument), Dhadhi exists in both the Sikh and Su traditions. Puran Singhs group sings Vaars or heroic ballads in the dialects of Majhi and Doaba, celebrating the attributes of courage and valor. This ancestral tradition has compositions containing both appreciation and criticism and is sung in a zealous and emotive tone. Puran Singh Arshi is a music lecturer who was born in Patiala and learned this music that has no formal, written theory, under the guidance of his teacher Ram Singh Nizampurwale. The groups compositions are dynamic and the performance is energetic, as three Dhadhs are played in unison by the vocalists. A Dhadh consists of an hourglass shaped resonator covered with skin at both ends and is sounded by striking the ends with the hand or ngers. The lead singer plays the Sarangi- literally implying hundred colours- it is one of the most complex bowed string instruments of India. This high pitched group singing is identi able by the unique rhythmic pattern and frequent changes in tempo particular to the Dhadhi tradition that has remained unaltered over hundreds of years.

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Jasdev Singh Jasdev Singh

Jasdev Singh and group from Ludhiana, Punjab, form a Dhadhi Jatha- an ensemble consisting of two or more singers, one of whom plays the Sarangi while the other plays the Dhadh. Dhadhi is a genre of Sikh devotional singing that originated four hundred years back during the rule of Emperor Jahangir under the tutelage of the sixth guru of the Sikhs- Guru Hargovind. Emblematic to it are songs of heroism and bravery. Sikh Dhadhis traditionally sing in the Gurudwaras and perform Vaars (ballads) of scriptures, however, they may often perform their own renditions of episodes of Sikh warriors and martyrs. These compositions are unique and easily recognizable as they are characterized by the rhythms of the Dhadh and the melodious tunes of the Sarangi without which they cannot be termed as Dhadhi. The Dhadh provides one with the opportunity of greater control over rhythm and ornamentation as it is struck with ngers and hands as compared to other such instruments which are played with a stick. Dhadhi performers modulate the Dhadh which is a unique ability to possess as regards a percussion instrument. The female vocalists render a composition in Malawi, singing in unison in a high pitched, sonorous voice and the Sarangi follows their melody. Peculiar rhythm patterns typical of Dhadh and the rendering of sustained notes is integral to this performance. The theme of valor is never presented in an aggressive manner but conveyed in subtle articulation of the traits of determination and discipline by way of music.
21. Vaar

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22. Mil Gayo Man

Aamin Aamin Khan Khan

Aamin Khan, a Mirasi Muslim hailing from the Shekhawati belt in Rajasthan, brings forth a paradigm of the colloquial avor of devotional music in India. In setting the verses of Indian Saints to the sounds of Tandoora (single stringed folk instrument), Khanjeera, Harmonium, Khartal, Chimta, Dholak and Manjira he conveys profound philosophical thought through a sonorous rendition of his Bhajans. The most prevalent form of devotional singing across all Indian communities, Bhajans are sung in praise of saints, heroes, or deities whose exemplary lives and deeds are venerated within a social context. They are a musical enunciation of the eternal human wish to call out to the divine in worship, prayer or tribute. A solo performer, Aamin Khan, blends the clanks of the Khanjira and the Tandoora to celebrate the attainment of spiritual insight that for him is the very essence of life. In simple metaphors and similes, drawn from day to day existence, as is characteristic of Saints writings, the words talk of seeking reality through introspection. Singing in praise of the one, eternal, universal principle of being that is manifested in multiple ways, his compositions encourage one to seek godliness in every perceived thing. His haunting voice in accompaniment to the euphony of a folk rhythm comes to create a soulful experience of resonance with reality.

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Gurnam Singh Gurnam Singh

Dr. Gurnam Singh is an exponent of the Gurmat Sangeet Tradition of Punjab, which belongs to the genre of Sikh devotional music. He sings eulogies in the Pwadhi tongue and Dilruba/Taus, Tabla, Rabab, Swarmandal, and Harmonium are played for the recital. A presentation of Gurmat Sangeet, which is an amalgamation of Indian classical music and folk tunes, is called Shabad Kirtan Chowki. The term Shabad refers to the holy hymns of the Guru Granth Sahib (Sikh Holy Book) while the Kirtan refers to a Sikh Devotional song. All Gurus from the rst, Guru Nanak to the tenth and last, Guru Gobind Singh developed and perfected the Shabads and the Kirtans that accompany them. Dr. Singh was introduced to Kirtan at an early age by his father Bhai Uttam Singh and later studied under Professor Tara Singh of Patiala. Today he is a professor and head of the Gurmat Sangeet Department at the Punjab University. An expert musician and a scholar, he has performed at various locales in India and around the world and has published research books, papers and dissertations on Sikh and Punjabi music, with focus on the Gurmat Sangeet. He is singularly responsible for the creation of several courses, departments, libraries, archives and even festivals and competitions in the eld. He sings in a soft, melli uous voice that makes for a peace ensuing, sonorous and spiritual experience.
23. Sodat Ki Chowki

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Sukaria Nar Fafal

Sukaria Nar Fafal

Sukariya Nar Fafal and accompanying artists are a part of a semi formal music group called a Bhajan Mandali who sing Hindu devotional songs and Ka (verses of philosophical poetry) with instruments like Ghadho-Ghamelo, Santaar, Manjira, Jhanjh, and Khartal. They are the Meghwal performers who are decedents of Meghmaru, a Hindu community living in the Rann of Kutch in Gujarat. They speak Kutchi and are culturally more linked to Sindh than mainland Kutch. Their traditional occupation was to skin the dead cattle of the Maldhari (cattle herders) and use the leather to make various products. The community is very industrious and produces a large variety of artistic handicrafts. Sukaria Nar Fafal plays the Santaar and is the lead singer who initiates the Bhajan and soon after all join him. The group belongs to the villages of Kuran and Pacham at Bhuj in Kutch and usually performs at temples across the region. Singing of common Indian themes like the stories of Krishna and Radha inherited over generations their collective recital, in essence, is colloquial temple music. For a group, their singing is surprisingly high pitched and the root note of Santaar is played as the only melodic accompaniment.

24. Kanudo Indho Vala Ae

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Ghevaram Ghevaram
Belonging to the rich tribal music heritage of Rajasthan is a unique folk tradition called Pabuji Ki Phad, which is essentially an art of story telling to appease a local deity Pabuji and sing its praises in recounting the tales that make up its legend going back to the fourteenth century. Sung by the Bhopas or the temple priests, the Pabuji Ki Phad style involves two important components- rstly a cloth painting that serves as visual adjunct and a moving temple and secondly the strains of an indigenous and rare two-string ddle called the Rawanhatta. It is made of a long piece of bamboo that is set into a dried coconut shell. The coconut acts as a resonator and is covered in skin. The bow that plays the Rawanhatta has a number of small bells attached to it which provide the rhythmic accompaniment. Ghevar Ram and Jiyaram Bhopa have been traditionally singing Pabuji Ki Phad in its festal and devotional avor in the region of Barmer. Primarily performed by the Bhopa and Bhopi, the latter drawing attention to a particular scene etched on the scroll using an iron lamp, the Kumhars, Gujjars, Nayaks and Bheels also join in. The lead vocalists sing in unison and the melody on Rawanhatta follows the same. It is believed that the performance wards o ill health and misfortunes. Singing in a narrating, notifying tone they follow an episodic structure; each scene comprises of sequentially sung lines set to a repetitive tune and a traditional mode of asking forgiveness of the divinity punctuates the transition from one scene to the next.
25. Pabuji Ka Parwada

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26. Aadu Panth Audhape

Vela Dhana Bheel Vela Dhana Bheel

Vela Dhana Bheel sings Bhajans- hindu devotional songs set to the music of Santaar, Manjira and Ghada Ghamela. The Bheels are a tribal community indigenous to many parts of India. Traditionally they were hunters and gatherers and lived a semi-nomadic lifestyle but in the present take up daily wage labor or work as farm hands. They espouse a unique culture of music evolved over years of social bonding and improvising instruments from materials in their immediate ecology. Bhajans are sung to celebrate the lives of famed saints and heroes and are eulogical in nature. Almost every village or community in India has a Bhajan mandali- a group of spiritual singers and instrumentalists. Vela Dhana Bheel belongs to a village called Gadhada, at Khadir Bhachau in Gujarat. He plays the Santaar along with an accompaniment of local percussions and his songs manifest philosophic notions and carry spiritual messages. One of the oft sung compositions revolves around an avowal made by King Ramdev Pir, an incarnation of lord Vishnu, at the time of his Samadhi- attainment of oneness with reality and eventual release from the mortal body. The king warns about evil begetting evil, thereby stressing the need to sow seeds in the form of good deeds. In rural Gujarati and strung to emotive local folk tunes his calling out to the divine is as sonorous as it is warm and simple.

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27. Shasvhi Raag

BikheBikhe Khan Khan

Bikhe khans music belongs to a semi-classical and folk genre of the Barmer region in the Thar Desert. A master player of the stringed instrument Sarangi the notes of which are o set by the beats of the Dholak and Khartal, Khan belongs to the Langa community that is now known far and wide for its musical prowess. The Indian instrument that is said to resemble the human voice most closely gets its name from sau meaning hundred and rang meaning colors to denote the myriad expression possible through its notes. The Sarangi is carved from a single block of wood and its lower chamber is made from red cedar wood and covered with parchment. An elephant shaped bridge supports this 40 stringed instrument. Three short and thick strings are played with a bow and stopped with the nails and cuticles, while the tarabs which are 35 in number are divided into 4 di erent choirs. A well tuned Sarangi sounds a lot like a busy bee hive. Bikhe khan performs with the Langa group at festivals, fairs and weddings etc. for a uent patrons and this is a sort of secondary occupation for these musicians who primarily are camel traders. Playing dynamic notes on the Sarangi which is technically a very di cult instrument to tune, learn and specialize in Bikhe Khan complements the emotive vocals of the members of his group. The Sarangi has traditionally been used for raga development and Bikhe Khan keeps alive in his renditions a music that is as regional in avor as is universal in appeal.

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28. A Folk Tune Of Marwar

Kanwru Khan Kanwru Khan

Famed for being performers of folk instrumental, Kanwru Khan and group, the Manganiyars from the Barmer region of the Thar desert represent a style of music historically darbari (royal) in character. Khan is adept at playing the Kamaycha, one of the most soothing and low pitched string instruments of India, to the accompaniment of a Dholak. The music they create is termed Jangda- a semi classical genre typical of this community. The Kamaycha is a popular instrument in the western Rajasthan and has a large circular belly covered with parchment, a peg system and a nger board. Its sound is a very deep, haunting boom owing to the large circular resonator placed in the instrument. Three strings made of gut strew the Kamaycha and pass through a broad bridge. The droning sound of the Kamaycha is resultant of the two bass strings that set the instrument. It is also incorporated with 15 sympathetic strings that include 11 made out of iron and 4 out of bronze and is played with a curved bow made of horse tail hair. The Kamaycha is held straight up while playing and is a very di cult instrument to perform with and subsequently master. Only legato notes can be played on this instrument. Dressed in pristine white or resolute black with vividly hued turbans adorning their heads Kanwru Khan and group create a reminiscence of the mysteries of the in nite immensity of their landscape through the poignant depths of the Kamaycha and bring alive a cultural past as old and complex in its rami cations as is the characteristic hum of the instruments drone.

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29. Bhairavi Raag

IlahuIlahu Khan Khan

The Manganiyar Meghwal community of Western Rajasthan in India is pro cient at the use of an indigenous instrument called Satara and exponents of it produce various poignant melodies that the desert landscape has been traditionally known for. Ilahu Khan is one such accomplished Satara player from the Barmer district. The Satara is a Rajasthani woodwind instrument adopted by Sindhi folk musicians, also called a Jori or Algoza. This folk instrumental genre is characterized by an underlying current of fun and festivity and is performed during fairs and festivals. During a presentation the notes of the Satara are complemented by local percussive instruments like the Matka and the Dholak. Satara is two uted; one ute produces the melody and the other produces the drone when the musician blows into it. Following a technique particular to this instrument the musician produces a continuous sound using a circular breathing process, always maintaining some air in his cheeks as he blows into the Satara. Three ngers are used on each side and sound is generated by rapidly breathing into it; the quick recapturing of breath on each beat creates a bouncing, swing rhythm. Akin to the brightly hued stole adorning Ilahu khans torso that contrasts the stark backdrop of the desert, the notes of Satara create a moment of discernment across the overwhelming vastness of the Thar.

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30. Pahadi Raag

Noor Mohammad Soda

Noor Mohammad Soda
Noor Mohammad, a musician who plays the Jodia Pawa or a paired ute, performs folk tunes and Su devotional melodies. The rendition is more festive than seriously philosophical. Noor, a Soda Muslim from the Rann of Kutch is one of the most accomplished woodwind instrumentalists in the region. Traditionally played by the Maldhari or the cattle herders, the remarkably beautiful Jodia Pawa is fashioned out of the wood of the Karad tree. Local belief has it that the sounds produced by the Jodia Pawa acclimatize the cattle with their masters thereby ensuring that they wander around for grazing till the limit the wind carries the melody of this paired ute. While one ute is used for playing the root note only, the other ute with multiple holes is used to play melody. Nowadays, the sounds of the Jodia Pawa are also used to add a distinct avor to Kutchi and Sindhi folk songs. Sounding sharper than a Rajasthani Satara and yet less shrill and incisive than the snake charmers Murli or Been, the Jodia Pawa reminds one of a bagpipe in some renditions. Noor Mohammad is pro cient at playing the melodies of Ka (verses of poetry) and the folk tunes integral to the culture of Kutch on this unique instrument. Of such excellence is his breathing rhythm and control that for eeting split seconds amidst the playing, the rendition sounds as if emerging from a string instrument.

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Kambhir Khan Kambhir Khan

Kambhir Khan and Lal Khan belong to the Manganiyar community native to the Barmer region of Rajasthan. They play the Murli (also known as Been or Poongi) which is an instrument commonly associated with the members of the society that are involved with catching and keeping snakes like the Kalbelias and the Saperas. They too traditionally are snake charmers but in the present times play at social celebrations and are rewarded for their performances with gifts, agricultural yield and money, in consonance with a social law created almost ve centuries ago. Suranda is used as a melodic accompaniment to Murli and a Dholak is employed as well, in performances that can be classi ed as semi-classical and customarily comprise of Rajasthani folk tunes. Crafted out of a rotund, wild fruit known as the Tumbdo, the Murli features a wide pipe at one end and two narrow pipes on the other. The Murli can simultaneously create a root, melody and rhythm and this incredible aspect makes it one of the most distinct musical instruments in the world. Its rich, penetrating sounds are produced by blowing through the wider pipe and controlling the ow by tapping the holes on the pair of narrow pipes on the other end. The instrument has a uniquely shrill tonal quality that is incisive and unabashedly seductive, therefore it is not surprising that legend has it that the mesmerizing sounds of Murli if played out by a true master have the power to awaken and allure mythological serpents into being.
31. Kesariya

31

Gyan Singh Memi

Gyan Singh Memi
Tracing its ancestor in Mashak a traditional woodwind instrument that is at times referred to as the bagpipe of India, the Veen is heard at many fairs, festivals and weddings in Punjab. Gyan Singh Memi, an accomplished musician is a part of a Sikh musical group, based at Patiala, that has been performing since the last forty years. The music of the Veen is set against the percussion of a big Dhol, a Bass Drum and a Chimta and the performance is known by the name Veen Vaja; simply implying that which can be played. Veen is locally manufactured in Jagrama village of Punjab. Earlier it was made out of goat leather garnered from a discarded Mashaks but in the present it is formed using bladder and the pipe is constructed out of a speci c type of wood called Chanter. Dressed in the traditional Sikh attire complete with a turban, and erect in posture the musicians hold and play out the majestic Veen. The inaugural, enunciating and revelry inducing strains of the Veen are complemented by the vibrant cloth streamers and colored tassels it is traditionally decorated with. As the background score of many a festivity, so rooted is this music in the collective memory of a people that if the air were not rent with sounds of Veen Vaja at a wedding, something would seem sorely amiss.
32. Jugni - Veen Vaja

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Manohar Manohar Brass Band Brass Band

Manohar Brass Band is a group of about fteen musicians who play the Clarinet, Euphonium, Trumpet, Trombone, Bass Drum, Side Drum, Clarinet, Maracas & Cymbal at wedding celebrations. An essential part of carnivals, festivals and marriage celebrations all across the Indian subcontinent, the brass band comprising of an entire ensemble of brass instruments is integrated deeply in the Indian cultural tapestry. A paradigm of the nations colonial heritage it was brought by the British in the 18th century and the immensity of its popularity can be gauged from the fact that at present there are two thousand brass bands in Rajasthan alone. The Manohar Brass Band from the town of Ajmer, conventionally plays folk tunes of the region as they walk with wedding processions or station themselves at the entry point of the venue of the event. Hindi lm songs set to the brass band tunes are a distinct feature of a north Indian wedding procession and colorfully dressed band members formulate the traditional milieu of the same with the groom atop a festooned mare moving amongst them. The costumes and some of the tunes re ect the military origins of this vivacious genre. All woodwind instruments are played in unison and their harmonization, which is a rare phenomenon in the Indian music tradition, is the de ning characteristic of the Brass Band.

33. Chirmi

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Index

FeaturedArtists

CulturalTheme Mood

Genre

CultureGroup

MusicalInstruments

RazaKhan Spiritual SufiDevotional MeethaKhan Spiritual SufiDevotional MustafaAliJat Episodic SufiDevotional GurmejRaja Eulogy SufiDevotional BachhuKhanLanga Festal&Wedding Romance MultanKhan Festal Parting BijalKhanMehar Spiritual SufiDevotional HarikeshSingh Episodic Fun DalbarSingh Festal Celebration MohanLal Festal Celebration PrabhudayalJangid Festal Romance DaluramBheel Worship HinduDevotional MurraLalaFafal Festal Parting GurmeetBawa Festal&WeddingCelebration JagatRamLalka Worship Devotional BalvinderMast Festal&WeddingCelebration Festal Romance DanaBharmal BabunathJogi Worship Devotional NarataRam Narration Philosophical PuranSinghArshi Worship SikhDevotional DhadhiJathan Valor SikhDevotional AaminKhan Spiritual Philosophical GurnamSingh Eulogy SikhDevotional SukariaNarFafal Eulogy Devotional Ghevaram Worship HinduDevotional VelaDhanaBheel Spiritual Devotional BikheKhan Desert SemiClassical KanwruKhan Palace SemiClassical IlahuKhan Desert SemiClassical NoorMohammadSoda Festal SemiClassical KambhirKhan SnakeCharming SemiClassical GyanSinghMemi Festal Celebration ManoharBrassBand Wedding Celebration

Sufi Christian Tabla,Harmonium&Claps Waai JatMuslim Dhambhuro Bheth JatMuslim Surando,Ghunghroo&Ghado Qawwali Muslim Harmonium,Tabla&Claps Algoza,Sarangi,Khartal,Matka&Dholak Darbari Langa Jangda Manganiyar Harmonium,Dholak&Khartal SufiKalam Meher Kamaycha,Khartal,Harmonium&Dholak. SwangNritya Sahariya Harmonium,Nagadi,Dholaki,Jhanjhar&Manjeera MalwaiGiddha VariousCommunities Bhukchu,Dholki,Algoza,Ektara,Chimta,Sap,Kato,Ghada&Gadba Bhangra Jat Dhol&Chimta ChangNritya VariousCommunities Chang,Bansuri,Ghunghroo&Manjeera GavriNritya Bheel Madal,Jhanjh,Ghunghroo,Manjeera&Thali Kafi MarwadaMeghwal JodiaPawa&GhadaGhamela PunjabiFolk Sikh Algoza,Matka,Dholak,Claps&Tumbi PunjabiFolk Sikh Ghada,Chimta&Tumbi PunjabiFolk Harijan Tumbi,Dholak,Matka&Harmonium KutchiFolk&Sufi MarwadaMeghwal GhadaGhamela&Ghunghroo MevatiBhajan Jogi JogiaSarangi,Dholak,Khanjari&Shell PunjabiFolk MuslimJogi JogiyaSarangi&Dauru SikhDhadhi Sikh Sarangi&Dhadh SikhDhadhi Sikh Sarangi&Dhadh Tandoora&Khanjeera ShekhawatiBhajan Mirasi GurmatSangeet Sikh Dilruba/Taus,Tabla,Rabab,Swarmandal&Harmonium KutchiBhajan Meghwal Santaar,Manjeera&GhadaGhamela PabujiKiPhad Bheel Rawanhatta KutchiBhajan Bheel Manjeera,Santaar&GhadaGhamela Darbari Langa Sarangi,Khartal&Dholak Jangda Manganiyar Kamaycha&Dholak RajasthaniFolk Langa&Meghwal Satara&Matka KutchiFolk SodaMuslim JodiaPawa RajasthaniFolk Manganiar Murli,Suranda&Dholak VeenVaja Sikh Veen,Chimta,BigDhol,Tambur&BassDrum BrassBand VariousCommunities Clarinet,Elphonium,Trumpet,Trombone,BassDrum,SideDrum,Maracas&Cymbal

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