Celebration of love
JYOTI NAIR BELLIAPPA
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That `Ruhaniyat' has emerged as a metaphor was evident from the artistes' sparkling images.
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PIETY AND ECSTASY: Parvathy Baul. Photo: Shaju John.
An evening with Ruhaniyat or `spirituality' meant absorbing music in three related ways — an exposure to artistes who transcended the structured word; who seemed to be practitioners of a kind of mysticism and excelled in creating an ambience of love that had the power to obliterate worldly divisions. In keeping with an older tradition then, a practising Muslim singer could beautifully render bhajans in praise of Krishna. Ruhaniyat thus emerged as a `metaphor,' where moved by their deeper selves, the artistes presented a sparkling labyrinth of images.
The first item was `Zikr' which literally means `remembrance.' The `Fuqraa' group from Hyderabad headed by Khilone Shah recited the rhythmic four beat `Zikr-Rifayi' to the accompaniment of daff. This was in the Rifayi tradition of Sayyadina Sultan Ahmed Kabir Mashooq Allah Rifayi of Baghdad.
Kabir's tale
A Rajasthani group from Jaisalmer then presented Padmaram with two bhajans in Bhairavi to the accompaniment of Kamaicha, Sindhi sarangi, dig digi (karhtaal) and the dholak. While the artist Rana made great patterns in the air with dig digi, Mamer Khan powerfully rendered, Des laced with fast tans, the deeply moving tale of Kabir. The last instrumental piece in Durga exhibited the classical acumen of Gevar Khan on Kamaicha and Mamma Khan on Sindhi Sarangi to the beat of the dholak.
The first Indian to perform at Kyoto in Japan, Parvathy Baul following closely in the tradition of Sanatanadas and Sashankh Ghosai, evoked that `speechless shruti between two notes.' Singing to the simple Ektara and the beat of a small tasa, Parvathy's music suggested both piety and ecstasy. The two pieces were rendered beautifully as the artiste effortlessly reached the higher octave in Mishr Khamaj and Yaman. Nanak Sha and Manak Ali of Patiala gharana together presented Punjabi Sufi Kalam in contemporary style. Particularly soulful was the Mia Sardar composition in Shivranjani where they modulated the tivr gandhar in the higher octave with panache. Their enunciation of murki and khatka flowed easily.
Resounding chants
Buddhist monks belonging to Dorje Shugden society in Tibet invoked the deep Nad of Nad Brahma. Beginning in the mandr saptak or the lower octave, from the nabhi, their chant assumed resounding proportions to the accompaniment of bells, big cymbals and vajr signifying both spiritual power and unshakable resolve. Next came the `Drums of Kerala' — minstrels presenting a ritualistic preamble that carefully built upon layers of sound to reach a final fulfilment.
In the Srikol and Dupki folk tradition of Baul, Madan Das Vairagya from Murshidabad, son and disciple of Shashank Gosai, rendered Jhanjhoti, "Moron koshe katho suno na' (`death obeys none, it can strike any where any one'). His loud ringing voice voicing his fears of death, `of sensibility' emerged in the nature of a mystical awakening.
Singing Krishna's glory
Merging these mystical points of emphases were the Muslim singers from Rajasthan singing, with a Punjabi mix, of the glory of Krishna.
Rana Khan performing after four years sang a piece of Kanwar Bhagat's with great zest. Though advanced in age, his song carried the vibrance of youth. Khachra Khan brought to life the poetry of Bulle Shah, advocating oneness.
Last but not the least was the exalted magnificent Kalam of Sufi poet Bedam Sha Warsi, "Yeh dil woh dil hai jo karta hai justju teri" (`this is the heart that craves for you') rendered by Sarfaraz Chishti and group. The Qawwalis were adorned with crisp couplets and delivered with resonant guttural alaps. A `samakhani' was created, an experience that was, steeped in the past, yet contemporary.
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