Gandharva: Origin and Performing Arts

Bharat Raj Dhakal School of Development and Social Engineering Faculty of Humanities and Social Engineering, Pokhara University Email: [email protected]

Abstract: The prime objective of this research article is to explore the different forms of arts performed by the ‘Gandharvas’ along with their historicity of social and sacred religious origin towards which the mainstream Nepali society is indifferent. In the social context of Nepal, they are regarded as the musician caste. They are also treated as the so-called lower caste people, the ‘dalits’ and are also denied the prestigious position in the society as well as in the pages of history. Although neglected in the society as well as in the history, they have got a pious origin as mentioned in the Hindu religious scriptures and beliefs. Their performing arts and musical instruments

through their performing arts. But the paradox is that they have not got the true alsorecognition have the in religious Nepali society significance. even thoughThey have they made share a thegreat sacred contribution lineage forlike nation other groups. Although they have sacred place in religion, their position is downtrodden in society.

Gandharva, Origin, Performing arts, Recognition

IntroductionKeywords: the people of lower varna group having The Gandharvas are the foremost occupations which what they consider as representatives of traditional Nepali folk music who travel different places the time of the rites of passage and different to entertain people and to spread the defilingritually purifyingfeatures perform occasions music of the and people dance ofat information of some events to them. They are the musical entertainers like minstrels There is a great contradiction that the or troubadours. Before the time of modern uppersociety caste” separates (p. 121). them from social and means of communication like the television, religious activities regarding them as the the radio, the telephone etc., they were one ‘dalits’ but adopts their performing arts in of the major means of entertainment as their religious rituals. In this context, Prabodh well as information. Despite having such a Gaine enough space in the pages of history and the Devkotathe contradiction (2005) argues: is that “… thetheir place position of is significantscholarly articles.contribution, The theycaste-based are not allowedNepali seems quite sacred in Hindu religion, though society imposed them the role of singing and dancing but did not pay attention on the sociallythe paradoxes decreased regarding as untouchable the social positiongroup” (p. of exploration of their sacred religious origin 13).Gandharvas Hence, thereand performing are some controversiesarts. On the one or and performance. In this respect, Abhi Subedi hand, they are considered as the lower-caste and denied prestigious position in the society, and perform dances and plays are said to be and on the other hand, their performing arts (2002) writes: “…the groups who play music sacred rituals of the so-called upper-caste rituallythat is their less performingpure in the art caste is accepted hierarchy” in the(p. (singingpeople. and dancing) have been used in the 121).However,rituals of so-called there upper lies a class. great Here, incongruity, Subedi of any race or tribe of society for having the It is quite necessary to know the history Journal(2002) of further Development argues, and “But Social paradoxically, Engineering Volume 3 | Number 1 | December 2017, 59-64 ISSN 2382-5332 © School of Development and Social Engineering, Pokhara University 60 Bharat R Dhakal better understanding of ourselves as well as the ethnic groups is Gandharva, also known society itself. Pointing towards the relevance as Gaine. This group has a great contribution for the enrichment and preservation of Nepali mentions: “Compelling reason for studying music. They are basically recognized as the ofhistory studying is historicity,that a society's Chor Boon identity Goh (1989)is the musician caste of Nepali society just “like the product of the many individuals, forces, and singers of Serbia and African countries who events that constitute that society's past. sing the saga of nation, narratives of epic p. grandeur and stories of the communities” 78 Historyof people is of society's various collective races. Therefore, memory” the ( song of their own experiences that is full of identity). It clarifies and origin that aof society group iscan an beamalgam linked (Subedi,sorrow, misery, 2002, poverty p. 127). and They exploitation. also sing the to the identity and origin of other group. In Regarding the origin of Gandharvas, there are many opinions prevailing in Nepali “Apart from providing knowledge, history society. But all Gandharvas agree to a common thealso like helps manner, to understand O. A. Ojo (2016) the present. maintains: To point that they have a very sacred origin, that ignore history is to refuse to understand is, they are the descendants of Gandharva p. 24 Rishi. In this regard, Tribal Ethnography Gandharvas are one of the components of of Nepal Gandharvas’ theour society, present” it (becomes). In very this crucial context, to delve since belief of their origin which explores their into their historicity of origin. Their identity (1994) writes aboutrishis , the great is associated to the identity of other races or sages. According to the book: ethnic groups. The study of their historical affiliation with very holy origin and performing arts is necessary rishis or because it provides society and the world .hermits, . . Brahmaji, 4 varnas the or creator colours (oneand 26 of with recognition and knowledge of our own. Hindutribes. Among Trinity) these created 4 rishis, 4 there was one Gandarva who was less were the sources of entertainment and cunning than his colleagues, and it is informationIt is also for quite the ironic people, that there although is lack they of because of this susceptible nature of enough information regarding their origin his that the other three rishis wanted and performing arts. Some of the studies to remove him from their group so have been conducted about Gandharvas they conspired. They gave him a leg focusing on the types of their songs, major of a cow and told him to go beg for residential areas, socio-economic conditions, alms uttering the word awariha. Not contributions in Nepali folk literature etc. understanding the plot, this simple But much attention has not been given on minded Gandharva Rishi did as he exploring their sacred origin or lineage as well as on the performing arts. In this light, this because he had used the leg of a cow paper digs into their origin and performing wasand sotold from that then he hadon he defiled continued himself his arts to foreground the unassailable religious life as a beggar. Thus it is believed root and performing arts so that they can be that Gandharva is the progenitor treated as the caste with pious origin, and their of the Gaine … and simultaneously, performance arts can get good recognition in the stringed instrument called Nepali society. For this, it involves extensive arwajo, which they use to provide study of available literature published on music while they sing and beg, also different books, journals and consultation originated. This arwajo is supposed with experts, and puts forward the major

Theirto musicalsymbolize instrument cow’s leg. arwajo (p. 218) also has a Originfindings. of Gandharva It clarifies that they have a very pious origin. For the enrichment of Nepali music and joined to one of the rishis whom we worship. dance, various ethnic groups have made a religiousBut it is a significance.matter of dismay Their that ancestral we do stocknot pay is great contribution. The real soul of Nepali much attention to such pious origin. music is preserved by many groups. One of The word 'Gandharva' is also mentioned Gandharva: Origin and Performing Arts 61 in many religious scriptures of Hindu mythology and folklores. It is believed The ‘stage like setting’ may refer to the in Nepali society that Gandharvas were intheatre a stage or like the setting”place where (Klarer, they 2013, perform p. 141). like the musicians in heaven. Their main the roads or the houses of people. There are various types of performing arts like dance, music, drama, circus, etc. responsibility was to please Indra (the king McCarthy, in The Performing Arts in a ofthe heaven) time the by Puranas singing and and the playing two epics music. were In New Era composed,this respect, the Anindita Apsaras Basu and (2016) Gandharvas writes: had“By “By performing arts, we mean theatre, music, become performing artists to the gods; the opera, anddefines dance, it fromfrom thea broad traditional perspective: “high Apsaras are singers, dancers, and courtesans, arts” to the popular arts, including live arts performed in all venues and non-live arts through all forms of mass media: CDs and while“In the the epics Gandharvas and the are Puranas, musicians” the (AncientApsaras other recordings, radio, video, television and Historyand gandharvas Encyclopedia). are artists She who further perform writes: at the court of Indra and other gods. They are mode of production of performing arts is also seen to sing and dance on other happy themultiple Internet” with immense(2001, p. potentiality.5). It shows There that theare occasions such as births and weddings of the gods and also of humans particularly favored on shaping the future of performing arts. The by the gods.” There is also another story variousmost important factors thatfactor play is howthe significantit is consumed. role about Gandharvas and their music which has For this, the role public involvement in religious touch. As mentioned by her they production and reception becomes crucial. were also mentioned in the Mahabaharata, In this regard, the author further argue: the Hindu religious book. She writes: “The “Some people may be directly involved in a gandharvas are musicians par excellence. “hands-on” way by playing an instrument or singing in a choir. For others, consumptions When Arjuna, the third Pandava, went to the heaven in search of celestial weapons, the gandharvas at Indra's court taught him In every performing art, there lies a singing and dancing.” means attending a live performance” (2001, great role of the artist who possesses the Moreover, there is also another version of p. 17). guiding or the controlling power. Clarifying their origin as musicians mentioned in Hindu the role of artist, Gregory Battock and Robert religious scripture. Tribal Ethnography of Nepal again writes: independent of current trends and traditional While preparations were being made for forms, and this independence guaranteed, for the division of labour between the 4 rishis, Nickas (1984) write, “… performance was a time, that performance art would remain Gandharva was engrossed in observing controlled and guides by the artists who extreme beauty and grace mentioned in p. artist, there is also a great role of audience the dance of apsaras (heavenly dancers of given the task of singing or providing music. originated the form” ( 6). Along with the Focusing on the important role of audience HinduTherefore, mythological it is believed scripture), that the soGaine he earn was without whom the art becomes insignificant. states: Their profession of singing and dancing in thePerformance performing arts arts, Terois not Nauha a (1993)skilled theirhas also living religious by singing link. songs. It was (1994. assigned P. 218) by the gods. But the caste-based Nepali society one who is doing and the ones who are observing it. Yes, performance art needs an profession. technique but takes place in between the audience, and as such it is similar to other live regards such profession as undignified activities such as stage driving: if you tried Performing Arts to do without an audience or have a rather Performing arts refer to different forms of arts reluctant one, the result is tragic or at least performed individually or collectively. It is comic. The performance is in relationship, but “an umbrella term for the artistic expressions 1993, p. that centers on the performance of an actor more significantly it is an action. ( 64) 62 Bharat R Dhakal performing arts lies in combination of the Gandharvako Loksahitya: Nirantarata ra Itartist clarifies and at that least the an real audience. significance If there of is any no this,Pariwartan Kusumakar, says: Neupane“Gandharvas (2065) have in been his audience, there is also no value of art. singing typical songs of their own race along Rather than teaching, performance art is with other songs. Therefore, not all the songs can be regarded as Gandharvas’ songs”

“aother mimetic generation learning in process”which observation (Nauha, 1993, and Regarding the contribution of p.imitation 61). It transmitted play a vital role.from one generation to (MyGandharvas, Translation, only p. few88). names are found in the pages of history of Nepal. However, their Gandharvs’ Performing Arts contribution is great. Ram Sharan Darnal, The only survival means of the Gandharvas in this context, gives the example of Mani are their typical forms of arts; their song, Ram Gaine who was employed by Prithvi music and dance. They are the sources of entertainment as well as information in a singer to arouse courage, enthusiasm and Nepali societies. They have also made a Narayan Shah for the unification of Nepal as notes: “Mani Ram Gaine was the historical campaign of Prithvi Narayan Shah. Despite bravery upon soldiers. Here, Darnal (2002) greathaving contribution such a glorious even background, in the unification political Shah. Unfortunately, written history does not figure during the regimeDalits of Prithvi of Nepal: Narayan Issues a miserable life because their occupation of and Challenges p. contributionsinging, dancing and and social music significance, playing are they on livethe much talk about him” ( brink of extinction. 143). During the time of medievalin medieval Kings king’s they court, were they also used employed to work as Singing poet-singer.as bards. According to Macdonald (1975), The main performing art of Gandharvas They travel around the villages singing is singing. They are, like troubadours of and playing sarangi. Not only they perform Europe, visit the houses of people and sing the task of entertaining people with sweet for livelihood. On the one hand, they try to folk music, they also spread news of public sustain life through singing, and on the other interests through songs much in common hand, this activity becomes a milestone of to Europe’s minstrels. It is, therefore, said preserving the folklores. In this way, the in Nepali society that “the child of Gaine and credit for the preservation and propagation of Nepali folklores goes mainly to Gandharvas. They possess the real genesis of Nepali folk Nyaulialso indicates (a bird) that don’t they stay are at the the travelers same place who music who entertain people with their sweet forever”visit houses (Pandey, of people 2063, to p. sing. 12).This statement rustic melodies. Therefore, they are the They sing various genres of songs. integral part of Nepali folk music. Highlighting the importance at their singing, Abhi Subedi their major genres of songs are Karkha, Gaines are basically AccordingRaga, Mangala to , KusumakarGhatana Geet Nepane, Gatha , (2065),Malsiri, singers who visit people’s houses and sing Nirguna, Jhyaure, Bhajana Bhrikuti: (2002)songs about maintains: historical “The incidents, love, faith, Samalochanatmak Ewam Anusandhanatmak and battles. Their presentation and style Sahityik-Sanskritik Traimasik) etc. In ( other of singing evoke social drama, the stage of words, “their narratives are either based on the local myths like Pashupati, Gorakhnath or the legends related to the historical which is the mind of every listener” (p. 27). personalities which include kings, prime ItNepali clarifies mind that and they society. sing on the varieties of subjectsThere which is one reflect misconception the true picture about of the Gandharva songs that people take all ministerssing these varieties and famous of songs fighters according of country” to the songs sung by them as the Gandharva song. (Divasa,situation Regmiand occasion. & Nepal, 2007, p. 12). They Not all the songs sung by them should be But, unfortunately, since many understood as Gandharva songs. Clarifying Gandharvas have begun to involve on other Gandharva: Origin and Performing Arts 63 professions, they have been dropping out their traditional profession of singing. In instrument originated long before the origin toof sarangi Ram Sharan. He also Darnal attributes (2061), to thisits religious musical his Gandharvaka Pradarshankari Lokakala: origin. He states: “It is a religious belief that thisNirantarata regard, Kusumakarra Pariwartan Neupane, remarks: (2064), “The in Brahmaji provided them this Arwajo for number of Gandharvas sustaining life through earning their livelihood in the beginning. performing the art of singing has become Therefore there is carving of human face at less. Educated and other Gandharvas who have adopted other professions don’t show is larger than the sarangi just like the guitar interest on sarangi thehaving head four of thisstrings. instrument” It is also (2061, played p. as9). the It guitar is played. Gandharvas also regard it playing” (My Translation, as a gift from Lord Bishnu. Since it produces p.basic 80). needs,Since their many profession Gandhavas is not have considered begun harsh sound, they consider it as the ‘male’ prestigiousto adopt other today professions and it cannot which fulfill can make their musical instrument. their livelihood possible. Pointing towards These musical instruments are facing challenges to compete with the modern luxurious musical instruments. The thedistraction possible on consequences the art of singing, of this the situation, hope of inventions of sophisticated instruments have Neupanepreservation (2064) of Gandharvasstates, “. . . Because’ traditional of such art been replacing these traditional instruments day by day. In the modern technologically generation of Gandharvas advanced world, it has become a great of singing cannot be fulfilled from the latter challenge to preserve such traditional ” (My Translation, musical instruments. 2064,Music p. Playing 80). Not only in singing, Gandharvas Dancing expert in playing the music. Their main Apart from singing and music playing, musical instruments are ‘sarangi are equally’ and Gandharvas have another form of performing ‘arwajo’. Sarangi is a four stringed instrument carved from light wood. It is played with a bow regarding their dance, writes that the major made from the hair of horse’s tail. Sometimes art,dances that for is,which dancing. Gandharvas Kusumakar are famous Nepane, are we can also see nylon strings in the bow. Tarbare Nritya Jaimalpatta They always carry it with them wherever Nritya and Ratyauli Nritya. In Tarbare Nritya, they go. This musical instrument produces they dance taking (Sword sword Dance), in a hand and such a sweet sound through which each and present the scene of bloodshed. This dance everyone can feel themselves spellbound. Jaimalpatta Regarding the origin of sarangi, Ram Sharan Nritya’, they dance in group playing four Nepali Baja, reflectssarangis , thetwo scene arwajos of, two war. madals In ‘ and two writes: “since it produces the sweet sound mujuras. Furthermore, Ratyauli Nritya is Darnallike that (2061),of a Sarang in bird his bookit is called sarangi” performed in marriage ceremony especially by women. version of idea, sarangi is the combination (Myof two Translation, words: sa p. and 27). rangi According where to sa another refers Conclusion rangi denotes Although regarded as untouchable and the colorful and entertaining moments. The treated as marginalized in Nepali mainstream tocombination the first note of those of music two wordsand gives us the society, the ethnological study of Gandharva meaning that it is a musical instrument that shows that they have a very pious lineage. produces various rotes of music to entertain rishis the audience. Gandharvas regard it ‘female’ and apsaras has been mentioned in many musical instrument since it produces mild Theirreligious affiliation scriptures. to gods,Somewhere goddesses, they were and soft sound. mentioned as entertainers whereas in some Arwajo is another musical instrument books they were regarded as the music and popular in Gandharva community. It is also dance teachers to gods. Not only this, in some their religious musical instrument. According religious writings, they were acknowledged 64 Bharat R Dhakal as the descendants of rishis. Their performing arts also have religious associations. Dalits of Nepal: According to those writings, their tasks of Darnal,Issues R. S.and (2002). challenges. Dalit, music and society. singing, playing music and dancing were also InLalitpur: P.M. Devkota FEDO. (Ed.), considered holy and prestigious too. Nepali baja (pp. 139-145). Pustak Bhandar. overshadowed in later time, especially by - - -. (2061). . Kahmandu: Ratna caste-basedUnfortunately, Nepali tradition.such affiliations In contemporary have been Neplai Folslore Society Newsletter society, there is no genuine recognition Devkota,13-15. P. (2005). Nepali Troubadours. of this ethnic group which is inspired by , 1(1),The psychological as well as cultural aspects intangible cultural heritage of Nepal: to accommodate and resist the distinction. Divasa,Future T., Regmī, directions C., & Nepal, B. (2007). similarities out of seemingly dissimilarities. . Kathmandu: UNESCO Now,Ultimately, it is time this of revisionrevision and findingincludes out the Office. Tribal ethnography of Gautama,Nepal (Vol. R., &2). Thapa-Magar, A. K. especially created by caste-based belief, of (1994).Book Faith Gaine. India. reexaminationvarious groups by of locating artificial all in distinctions, historical (pp. 217-224). Delhi: and cultural contexts. This would create to our lives today. Teaching and similarities among different groups, which is Goh,Learning C. B. (1989)., 10 The relevance of history the real need for a harmonious society. The Institute of Education. act of erasing and altering their long-rooted (1).An (pp.introduction 75-82). Singapore:to literary . London: Routledge. performing art should be avoided as they studies exist via performance. There is a need for the Klarer, M. (2013). In Essays on the Ethnology of Nepal and protection of the folk practices arousing the Macdonald,South Asia A. W. (1975). The Gaine of Nepal. awareness against social malpractices and Bhandar. discrimination. . Kathmandu:The Ratna performing Pustak Modern society is a fusion various arts in a new era. United States: Rand groups of people having their different McCarthy,Corporation. K. F. (2001). traditions. They have to live creating a harmonious social environment. The Performance performing arts of the Gandharva through Nauha,artist's T. 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