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Volume-1, Issue-2 . ISSN 2456-6187 December , 2017 Volume-1, Issue-2 . ISSN 2456-6187 December , 2017 EVOLUTION OF RAGA-RAGINIS IN BISHNUPUR GHARANA -Siddhartha Choudhury Abstract:- Page | 61 It is a historical fact that the city of Bishnupur in Bankura district of West Bengal has become one of the centers of Indian culture. It has been observed that with the evolving trend, in the cases of presentation style of vocal music followed by string instrument practice especially sitar playing and presentation of raga-raginis of the musicians of present generation are quite different from that of the ancestral musicians of this gharana, which are largely unknown to mankind due to lack of knowledge and publicity. Therefore, in order to find some answers to the inquisitiveness of the music lovers and researchers, there is a need to revitalize and reorganize the history of the musical practice of Bishnupur gharana. Keywords :- Bishnupur,Gharana,Raga-Raginis. Scholars opine that our geographical environment has a significant impact on our lifestyle. A myriad of research shows that man learned to live in a group after conquering various adverse situations. Before the development of science & technology, people’s daily lifestyle, behavior, education, ethnicity etc. were dependent upon the geographical atmosphere at large. Therefore, it can be said that the history, culture & lifestyle of any particular state or region principally depends upon its environment. To discuss about the musical practice of Bishnupur, firstly, it is necessary to have the geographical knowledge of this region. The former capital of Mallabhum was Pradyumnapur and later Bishnupur became the second capital. Earlier, Bishnupur, the second capital of Mallabhum was not so popular with its existence. The then Bishnupur was surrounded by deep forest and accordingly entitled ‘Bon-Bishnupur’.Many people opines that Bishnupur had been bring into being by Jagatmalla, the 19th emperor of Bishnupur. The time of establishment was 997 Khristabda(A.D), 303 Mallabda, Bengali year 404. Bishnupur is one of the famous musical hubs of Bengal. Among the ancient places well known for the practice of classical music, Bishnupur deserves special Gandharvam- A Referred Journal of Sachin Debbarman Memorial Govt. Music College Volume-1, Issue-2 . ISSN 2456-6187 December , 2017 mention. There were many musical institutes in Bangladesh which were older compared to Bishnupur, but Bishnupur Gharana is the oldest one in Bangladesh. The tradition of classical music developed by the musicians of Bishnupur is a unique one and is not seen elsewhere in Bengal. Although raga-raginis were being practiced for about 200 years, but Bishnupur is a paradigm in establishing the Page | 62 tradition of classical music in Bengal. The main reason behind this may be its geographical environment. Being located in the western part of Bengal, Bishnupur has got a close connection with the western region of India. ‘Darbari Raag-sangeet’ is basically the creation of west. Many people believe that this tradition of music has got maturity to a lot in the ‘Darbars’ or court of Kings of India in the pre- modern era and in this respect, Bishnupur is not also an exception. In the Bishnupur region, the practice of classical music has got enriched with the help of the royal dynasty. The people related to the Bishnupur royal family got chance to learn music from the eminent musicians of the king’s court & as a result classical music got expansion there. Gharana is a French word which has been adopted as an Indian word. Traditional behavioral pattern may be regarded as Gharana in our society. Likewise, certain particular style of presenting music by certain musical family may be regarded as Gharana.Hence a continuation of the presentation of professional music in a particular style with a fragrance of their own may be termed as silsila of that gharana. Each gharana has its own individual identity or silsila which has to be strictly followed by the practioners of that gharana.It must be remembered that gharana does not imply blind imitation of the style but should be adapted as the basis of the tradition. Individual performer of that gharana may have his/her own flavor with an individuality of his/her own. As a result of this, two individual performers of the same gharana, may have different flavors or quality during their presentation. Before the origin of Bishnupur gharana, the practice of music in this region is cited in various books like Charjageeti, Geetgovinda, Srikrishna kirtanam etc. and such type of raga-taal is also apparent in the musical style of the laureates of Bishnupur gharana. The ragas described in those books are also observable in the musical style of Bishnupur gharana at present. Gandharvam- A Referred Journal of Sachin Debbarman Memorial Govt. Music College Volume-1, Issue-2 . ISSN 2456-6187 December , 2017 Some of the ragas which deserve special mention are Gujjari, Karnat, Desh, Malab, Basanta, Vairavi, Bivash,Sree,Ramkri/Ramkiri/Ramgiri,Patamanjari,Kamod, Dhanasi, Vairav, Vimpalashi, Pahariya, Bagsree, Vatheeali, Kedar, Mallar, Lalit, Belabali , Sindhora, Malabasree,Kakuv, Barari,Ashabari etc.The Talas which got extinct are Ektala,Rupaktala etc. Page | 63 Raga ‘Barari’ has got mentioned in the book Geetagovinda. Khetramohan Goswami mentioned about raga ‘Barati’ & ‘Birari’ in his book ‘Sangeetsar’ & ‘Kanthakaumudi’. As these two ragas are not so much in practice in the subsequent time, it is impossible to prove whether these two ragas are same. Khetramohan Goswami in his book mentioned about raga ‘Gujjari’ and also mentioned its jati-Sampurna, Vadi-Ga, Samavadi-Pa & Komal(Flat note)-Re ,Ga ,Dha, Ni. But Gopeswar Bandyopadhay stated some differences regarding raga Gujjari in his book Sangeet Chandrika like-Thata of Gujjari raga is Vairavi, jati- Sharav-Sampurna, Arohan(Ascending)-Sa Ga Ma Pa Dha Ni Sa(Higher octave). Abarohan (Descending)-Sa(Higher octave) Ni Dha Pa Ma Ga Re Sa, Vadi- Dha , Samavadi- Ga , time of presentation is 2nd part of the day. In place of flat/Komal Ni he used Natural or Shuddha Ni & Pa in his book. The changes in Vadi- Samavadi is also noticeable. Later, in the sitar playing of Sangitacharya Gokul Nag, Pt.Minilal Nag and Srimati Mita Nag, we see the style of raga related to Bhatkhandeji's point of view. For example, the thaat of this raga is Todi, Pa is unrecognizable, Vadi is Dha, samvadi is Re/Ga, in this raga, Re Ga and Dha is flat/Komal and Ma is Sharp. Regarding the identity of 'Karnat' raga, Kshetramohan Goswami mentioned in his book that jati of this raga is sampurna, vadi is Pa and samvadi is Dha. Nothing more is mentioned in his book. Regarding this raga, Gopeshwar Bandyopadhyay has mentioned in his book - the thaat of this raga is Bilawal and jati is ourab- sharab. Arohan is Sa Ga Re Ga Pa Ni Sa (Higher octave), Abarohan is Sa(Higher octave) Ni Dha Ni Pa Ga Re Ga Pa Re Sa, vadi is Pa and samvadi is Sa(Higher octave) time of presentation is 2nd Part of the night. The practice of this raga is not seen in the sitar players of Bishnupur genre who are younger to Gopeshwar Bandyopadhyay. The mention of 'Malab' raga is found in the books namely, Gitagovinda and Srikrishnakirtana. Kshetramohan Goswami in his book, mentioned Raga Malab as 'Marwa' and regarding the identity of this raga he added that jati of this raga is Kharab,Vadi-Ga,Samavadi-Ma(Sharp),Vivadi-Pa. Komal(Flat note)- Re & Sharp Gandharvam- A Referred Journal of Sachin Debbarman Memorial Govt. Music College Volume-1, Issue-2 . ISSN 2456-6187 December , 2017 Ma are used in this raga.Gopeshwar Bandyopadhyay has written about this raga in his book that the thata of this raga is Marwa and jati is Sharab. Arohan is Sa Re Ga Ma(Tivra/Sharp) Dha Ni Sa(Higher octave), Abarohan is Sa(Higher octave) Ni Dha Ma(Tivra/Sharp) Ga Re Sa. Vadi- Dha,Samavadi- Ga, time of presentation is st 1 part of the night. Differences regarding the vadi and samvadi swaras are being Page | 64 noticed between Kshetramohan Goswami and Gopeshwar Bandopadhyay’s point of view. Satyakinkar Bandyopadhyay mentioned in his book about raga 'Marwa' - the jati of this raga is ourab-sharab. Nature of the raga is Saralgati, Madhya Prakrity ,Shuddha sreni & Uttaranga based. Thata-Sa Re Ga Ma(Tivra/Sharp) Dha Sa, Sa Ni Dha Ma(Tivra/Sharp) Ga Re Sa. At present, the Bhatkhandee style is observable when this raga is played by the artistes of Bishnupur gharana. At present two forms of Ashabari ragini are there –one with Suddha Rishav & another with komal Rishav.But except Bengal , the practice of Ashabari with komal Rishav is seen nowhere. Renowned musician of Bishnupur Gharana Sri Gopeswar Bandopadhyay collected a number of songs in Ashabari ragini in his book named ‘Sangeet Chandrika’ & all them are with komal Rishav.But the identity of Ashabari ragini given by Gopeswar Bandopadhyay differs from that of another renowned musician Ramprasanna Bandopadhyay of the same gharana, in his book ‘Sangeet Manjari’.According to ‘Sangeet Chandrika’, the vadi-sambadi of Ashabari are komal ‘Dha’ & komal ‘Ga’ respectively.Abarohan of Ashabari is Sa ni dha Pa Ma Pa ga Ma re Sa. According to ‘Sangeet Manjari’ , the vadi-sambadi of Ashabari are Pa & Sa respectively & Abarohan is Sa ni dha Pa Ma ga re Sa. Despite the difference shown by the two music laureates in Vadi-Samvadi Swaras , there is observable difference in Abarohan.The former one used Ma & ga two swaras in a different manner, but the Abarohan given in the book ‘Sangeet Manjari’ is of a very simple nature. From this we can deduct that the author of ‘Sangeet Manjari’ is the Predecessor of ‘Sangeet Chandrika’s’ author & initially in Bengal, although the identity of this ragini was of simple nature but in the later time to diminish the impact of Vairabi ragini,the style of this raga was made curved to some extent.
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