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Through Socio-Cultural Perspectives Abstract the Socio-Cultural Background and Its Echoing Sounds Always Remain As the Core of Any Fine Artwork

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Through Socio-Cultural Perspectives Abstract the Socio-Cultural Background and Its Echoing Sounds Always Remain As the Core of Any Fine Artwork ISSN NO.: 2321-290X RNI No. : UPBIL/2011/43595 SHRINKHLA : VOL-1 * ISSUE-2 *OCTOBER-2013 A Critique on North Indian Singing Style “Khyaal” Through Socio-Cultural Perspectives Abstract The socio-cultural background and its echoing sounds always remain as the core of any fine artwork. Music with its universality acts as a very dominant stream among fine arts forming aesthetic values, emotive fervency and blissful experiences. Behind its so called particular attributes (music of this world – relating to AAHAT NAAD) there exist religious, social, cultural, political and creed based norms. In North Indian Classical Music these factors play a vital role to give emergence and developing or abandoning many established singing styles. This paper stresses upon those socio – cultural factors that can be called root causes of living or extincting singing styles of North Indian Classical music. Right from Dhruvapada (Dhrupad) to Kajari or Hori many styles came into existence whereas some faced adverse conditions and lost existence or dragged to become extinct or less recognised including Khyaal. Keywords: Khyaal, Singing-style, Socio-culture, Emergence, Diffusive potential,Multi-culture. Introduction At the beginning of social life a group of human beings sought sublimate emotions through creative disposition. Some preferred to express their feelings through language or writing, some opted for colour, stone, wood and some adopted ―sound‖. Literature developed through the medium of language, Arts evolved through colour and lines and Music manifested itself through Swaras/sounds and rhythm. All works of arts have Sudha Sahgal some many similar and some dissi milar factors and behind these, socio- Associate Prof. cultural issues adhere to many reforms and changes. Culture is not Dayalbagh Educational Institute timeless and motionless body or value less body that remains Deemed University unaltered by social change rather it is dialectic and incorporated new Agra (U.P.) forms and meanings while changing and reshaping traditional ones (Parsons, 1999 )[1]. Therefore, it is thought of coherent body of beliefs and practices which are dynamic and changing within particular historical background. The concept of style emerging out of socio-cultural is nothing new in any work of art. In Indian music also, there are some vital perspectives which are responsible to give emergence to many new streams or styles socio-culturally- * Basic values * Core assumptions * Social beliefs/Norms * Attitudinal conventions * Systems and institutions * Social rituals and behaviour * Structural elements of language * Emotional impact creating product Keeping all these above mentioned socio-cultural perspectives in view this paper is focusing upon KHYAAL, a very systematic, imaginative, melodious, intellectually ordained, soulful classical singing style of north India. Here are some "research questions" before writing on this topic- R Q - 1 - What is the socio-cultural valued background of Khyaal ? R Q - 2 - How fundamental assumptions of society and culture could act upon Khyaal ? R Q - 3 - Do social beliefs have any impact on Khyaal ? R Q - 4 - What are the attitude based conventions shaping Khyaal ? R Q - 5 - Was this style capable of giving emergence to any institutions ? R Q - 6 - Are/were there any social rituals or behaviour in rendering ? R Q - 7 - What type of language/literature in the structural framework of Khyaal? R Q - 8- Does any product of Khyaal involve individual/socio-cultural emotion? 78 ISSN NO.: 2321-290X RNI No. : UPBIL/2011/43595 SHRINKHLA : VOL-1 * ISSUE-2 *OCTOBER-2013 Background of Khyaal: musical culture. If a singer/poet/artist/painter displays Khyaal or Khayal, is the modal genre of sufficient skill and knowledge in performance, the classical singing of northern India. Its name is derived person is welcomed by other wizards of North Indian from an Arabic word meaning "imagination". It is artists/classical musicians/and by the general public believed to have developed out of the qawwali singing therefore it was easy to mingle up with masses(except style (qawwal bachchon ka gharaana ). Its traces Brahmins of former centuries).Anyhow references are related with particular system start appearing from available in literary or structural framework in 17th C. It is a more free and flexible form than Akbarnama and Jahangirnama along with Dhrupad and it extends greater dimensions for subsequent granthas but regarding the notational improvisation. Being a modal genre it has variety of system of QUAL or qawwali no references are thoughts, embellishments, moods and nuances. Its available. modes are called RAGAS and each raga is a QUAL is behind Khyaal as basic value and core particular framework of melodic rules. assumption. A school of thought believes that Amir Mentioning in general terms basic values Khusro was the originator of Khyaal (though he are widely shared amongst a group, community or created many poetic modes of Hindavi, Braj, Persian culture (Welch. P, 1995, p35)[2]. These can be languages but pertaining to Khyaal particularly no classified as religion, music, culture, educational authentic references are available), another school of institutions, family, peers, they are passed on through wizards or historians claim that it was already there sources such as institutions, religious organisations or after Amir Khusro and taking shape from 14th c. to family, but what is considered prominent in one 16th c. in the form of Qawwali. Amir Khusro was a culture or society can vary to the next. Values of Sufi Sufi and he created QAUL (THE WORD (of KHUDA)) philosophy remained at the root level. As it is is being sung till date in URS)instesd.In other words, important to mention here that Khyaal is believed to one cannot deny that the structural framework of be emerged out of Qawwal Bachchon ka Gharaana, Khyaal is laid upon QUAL. An example of QUAL is as having all attributes of Sufism and it was naturally follows - imbibing the culture and value of social togetherness Sthayee - of Sufis. A country like India was cherishing two Man Kunto Maula (Who is my master?) cultures and pantheism was there in core status. Faaliyun Maula !! (Ali is my master ) Social beliefs and norms are the traits by Antara - which groups in a community identify themselves and TAN DIR TANA DIR, TANA DIR TAARE DAANI these beliefs and norms are sets of ideals and world DEEM DEEM TANA NA NA NA, TANA DERE NA views: They are coherent from inside, they appear to TUM TUM TANA NA NA NA, TANA DERE NA be true and these are many and varied, most of them YA ALI YA ALI YA ALI, TANA DE RE NA organized into groups and advocate their beliefs. The Khyaal has exactly adopted this two part social beliefs and norms that we hold are an structural framework based on QUAL. The second important part of our identity. They may be part gave emergence to Taraana later in the 18th c. religious, cultural or moral and at the same time QUAL was sung in group with the unique application pertaining to day to day norms, related to of clapping. QUAL and Qawwali ( simple version of imagery, festivity etc. Beliefs are precious QAUL) became popular from 14th c. in the reign of because they reflect who we are and how we live Sultan Hussain Shah Sharqi (early15c.) when our lives (Norman D. A, 2002, p.79-80)[3]. These Kalavanti Khyaal came into existence (in the form of traits of the society were prevailing till the later half of chhota khyaal of present day having some sort of 17th c. and the handful of artists were permitted to petty mimicry note along with qawwali), to16th c. in sing religious Dhrupad. Then Dhrupad due to over the court of Akbar (second half of 16th c.) both styles complexity started declining and Khayaal was were at the peak of popularity (a similar genre called popularized having day to day experiences by Khyaal pertaining to folk dramas was also popular in Niyamat Khan (Sadarang) and his nephew Firoz Khan Akbar‘s time but this folk dramatic Khyaal did not have (Adarang), both musicians in the court of Muhammad any traces of classical music based Khyaal). As far Shah Rangeele (1719–1748). as similar articulation exists of both the terms, there It seems by many sources that Khyaal was could also be a possibility to speak or pronounce pursuing its place in the society and compositions QUAL as khyaal by Indian folks and this term got were being written on social norms ( other than established as the same in due course of time. devotional which was the central note of Dhrupad) Masses (except Brahmins) of India of that time were such as description of festivals, nature, seasons, on the other hand not allowed to listen or learn the love poetry etc, so although the compositions of high powered and sanctified Dhrupad but were Sadarang and Adarang employ the theme of Hindvi heartily welcomed to enjoy and sing(even ragas love-poetry, the khyaal of this period also acquired the based melodies having distinctive folk colour) dignity of Dhrupad someway and the manner of the Qual/Qawwali. Though the second part of QAUL veena in its glide (meend) plus a number of musical seems meaningless but a great value of spiritual exercises (alankaars) that were introduced into the meaning is hidden it. body of the composition. Social beliefs and norms On the other hand, in India, knowledge, invented a new style. The Gharana system having all erudition, and art were/are always highly esteemed. above mentioned belief systems arose out of stylistic Therefore, over time, artists from different religions, rendering of the khyaal by various subsequent cultures, and castes were easily integrated into Indian generations of musicians. After a certain period of 79 ISSN NO.: 2321-290X RNI No. : UPBIL/2011/43595 SHRINKHLA : VOL-1 * ISSUE-2 *OCTOBER-2013 time social beliefs and norms also change and it whether to do bol-alap or aakar-alap, what kinds of happens after a long duration of time when any improvisations (choice and freedom to the artist) to tradition gets lethargy in it (Deshpande, K.
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