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Syncretism and Adaptation in Rasiya, a Braj Folksong Genre

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Syncretism and Adaptation in Rasiya, a Braj Folksong Genre City University of New York (CUNY) CUNY Academic Works Publications and Research John Jay College of Criminal Justice 1994 Syncretism and Adaptation in Rasiya, a Braj Folksong Genre Peter L. Manuel CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/jj_pubs/312 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] / J ouRNnuoF V4tln/AVa91v9,99 *rt, \,,/'d,.\1ll AND ADAPTATION IN RASIYA -; )k,\ SYNCRE-TISM A BRAJroI-i<soNc GENRE PetcrManuel massmedia, capitalistsocio+conomic rela- r,- -rndcr the irlpact of the music I I tionr, anrl rithcr aspecrsof modernity, many lndian folk lJ g"*"s havc dcclinetl visiblyand even disappeared,and it may be temptin"gto concluclcthat folk musicas a whole hassulfered in the twenti- eth ientury. I lgwever,a rtumber of significantfolk music genreshave not only survivedbut flourlshed in tlre twentieth century,in some cascsby vir- tue qf tficir ability to syncretizeelcments from other traditions. One such genre is ran)a,rvhich, in its varioussubstyles, is the most popular and wide- ipreatl lblkinusic gcnrc of rhe llraj region. In rlis article I focus on the most pr.r,ninent liirms of rasiya,outlining aspeclsof their.textual and nrcl,r,iicsyn<:rctisrrr, arrd suggcsfinghow thcsefeatures conlribute to the c<rntinrr,,.iappcirl ,,1'thc gcnie. In the proccssI will alsoprcscnt a ccrtain amountol'rclcv:rrrt irrflodrrctrlry dcscriptive data, given tlre dearthof arail- ablc scholarlypublications on the gcnre,which consistprimarily of an ear- licr work ol'niinc (M:rnrrell$J3: ch. 9), and a verysubstantial, informa- tive,but unfortunatelyunpublished IIindi l'h.D. Oresis(Banerjee 1986). i"ril" exisr-sin a v:u.ietyo[ forms, performed in divcrsecontexts. Quin- rcssentiatly,rasiyas, sung to a set of familiar siock tuncs,portray the amor- ous dalliancesof Krishna,and arb especiallyassociated with Iloli. [low- ever,rasiya tcxLs Inay in fact deal with all manner of topicsand are per- by rural qrqi folk in infor- formcctyca.-r<,urxl, Irlost typically,-seLsotl,rasiya is sung ural songscssions. Irr lkrli rasiyais widely perftrrmedin tcmples (espcci;rllycon<:lutling .ramaj scssions), and villagcrsand semi-specialists (some iing r"gi,x,al vru'ianr-sin assticiarionwith speciliclocal festivities of which ar-ctlcscribcd in llanerjce 1986).Rasiya is alsoincorporated into rtu- lita and naularthithc:ttcr, an{ rnodcrn ras-dhfis(toslild singer+omposcrs) havcplayrxl ituportartt l'<llt:s itr [1g gcnrc'sdcvcktpmcnt' 33 rt4 PETER MANUEL Syweti.nn and Adaptotionin Rasiya 35 Of particular importance here are two modern rasiya subgerues. One with Ridha and the cowgirls. Like most Krishna-bhakti poetry, these songs is the Hathrasi style, which constitutes the most sophisticated, refined, are writtcn frorn the toihibhao perspective of the female lover or devo and coruciously cultivated form of rasiya. Like Bhojpui birha, Hathrasi tec.-paradigmatically, Radha. Sccular rasiyas,many of which are intended rasiya emergcd in the late ninetcenth century, is performed by compet- to bclexuiriy titiltating, arc also gencrally presented from the female per- ((angakl urg ahhaTasin all-night competitions , and syncreticallyincorpo sona, although the prbagonist is usually understood to be a young bahu rates elements from other genres. Another sub-style of rasiya is that (wife), discussing or addressing her husband, lover, or importunate would- which, since the mid-1980s,has come to be widely disseminated on com- be seducer. mercial cassettes.Both thcse stylesare performed by semi-professional On the wholc, thc topics of dcvotional rasiyasadhere to the conventions specialists,synthesizing traditional and modern elements, and illustrat- of traditional Krishna-bhakti vene and theater, especiatly the stock famil- ing how folk music genres c:rn in fact {lourish in the trventicth century. iar episodes (tt|is) of his youthful years in Brindarran. fu these have been This article explores two aspectsof contemporary rasiya.In thc first sec- ticscribetl eiscwltct'c(e.g', in llein 1972:165-78),they do not in tion, I suggesthow "mpiy erotic rasiya texts reprcsent a coherent confluence of the'nrsclvesrequire further discussion here. What is relevant fior this study at least two ovcrlapping, complcmcntary poetic traditions, synthesizing is that their usagc aligns [<rlk rasiya with the 'Grcat Traditjon" of Krishna- folk and classical,sccul:rr and sacred, traditional and mod.ern, and local ite poctry, including cl;usical llraj vcrse and the song texls of l-Iindustani and pan-regional parLicular, conventions. ln I focus on the way that secu- clasiical and scnrirlassical rnusic (cspccially thwnn). Accordingly, a few lar rasiy:u combine the stock personae lovers, Redhe of the archetlpical classicalpocts likc Chandra-sakhi(l8th c.) composed rxiyas, and sevcral and Krishna, with more purely fiolk and secular erotic character stereo familiar iasiya tcxu contain irc chhdp(pe n-narnc) of Sfirdas,whether gen- types. In the second section I discusstJre prcdominant melodics used in uine or apocryphal.r Rasiya tcxts can also be related in various ways to the rasiya,stressing the divcrsity of their origins and their inherent adaptabili Grcat'I'rirlition of clusical acsthctic thcory. Many professionzrlrds-dldrds ty. I concludc by arguing that the brcadth and hctcrogcncity of tcxt and aind ahhara-Drizis(llathrasi-style singers) are conversant with the most tunc in thcsc types of r:uiya rcllcct and partially explain rirsiya'scontin- familiar aspccrsof rrisand nafha bhri theory (see tlcin 1972:157,164), as ued poprrlarity and viurlity. are some ificiona6<rs of lla6rrasi rasiya (e.g., Vikal 1988, who describes rasas) various rasiya tcxts as cxhibiting bha&i, vingar, uatsalla, ot raudra ' Song Texts: Krishnaite and Secular Folk Conventions to Many rasiya tcxts, whctltcr sacrcd or profane, lcnd thcmselves easily classification in terrn-s<lf traditional nafha bhtis, especially viraholhnnnhita Although most rasiyasdcal with a conventional set of themes,thc range of pto' (one distrcsscd by scparaion\, hhaqdita (one enragcd by her lover\' topics dealt with in the genre is unlimited. To some extent, rasiya is distin- (one who silabhan.rha(one rvith a so.iourning husband) , znd abhisari&a guished by its characteristic nrelodies, styles,and contexts rather than text fanril- moves to rncct hcr l.vcr). iiattrrasi .nsiyalyricists arc cxPectcd to be content, and is thus able to accommodate any sort of text topic. Ilathrasi of iar wittr litcrary poctics (as with IIindu mythology); thcy usc a varicty rasiyasare particularly diverse in thcir subject mal.tcr, as compctitioru are verse forn$ and mctcrs (chhantl),including deThtuhi\a, tuhaia' chauhaia' judged by the clcverncss,erudition, and poetic merit of the verseswith or appcar jhulna, dupahiya,lhafula,;ttrd othcrs, sotne o[which dcrive from which the riuil aL<hayrrcspond to cach other's insults, political argurncnts, scct-ion, in classic;rlIlindi litcratrrlc. ('fhcsc will bc discusscdin thc ncxt or mythological riddles. Despite this variety, howcver, there is a core of con- rasiya sincc thcy arc a-ssOciarcdrvith spccilic mclodics.) Finally, in I lathrasi ventional strrck topics and thcmes prcscntcd in rnost rasiya,and it is this srr(h rhctorical showpiecCsas pocms contain- 'l'hc onc occasionaltycncorrnt(,rs core thal will conccrn us hcrc. stock t]renrescan bc groupcd into over- n. labials' tlt"y ing only sh.rt vi^vcls (bonatrihclinul\, or l.u*'ing T:|.!t^t lapping sacrcd (dhannih\and sccular catcgrlrics,with rnany tcxts, as we Iloth ari srrngrvirhrur clrsing tl-rcli's (atJhar-chhandl(llancrjcc 19u6:105)' shall scc, classiliablein cithcr nlanncr. As rncrrtioned above, the religious thcsc typcs arc als. cnciluntcrc,6, anlong qlscw6cre,in ninctcenth<cntury rasiyasgcncrally portray Krlshna thc corvhcrd, and cspeciallyhis flirtation (Manucl l9U9:29)' bandishlhumi, whcrc the lattcr is callcd atlhar'band P TERMANUEL Syro'etism and Adoptation in Rosiln t7 I'hus, in content, aesthetics, and formal sFucture, rasiyasexhibit marked (see music ex. sugar-ball (batasha)was distributcd. " The following excerPt aflinities and linla o classical Hindi verse, and to Great-Tradition literary 5) is also typical: and dramatic theory as presented in such works as Keshav Das's Rdsl*a- prfia and, for Orat rnatter, the Ndla Shostra(2nd c. B.C.E.-2nd c. C.E.). At IIar bichchLjhaijhro moii mari sharm hi mdi the same time, rasiyasremain rooted in rural folk traditions, perfornrance d.anr uldre bichchhnbaTa majo dYe contexts, and values, establishing, as it were, a natural continuum from folk to classical poetry. As I shall argue, this continuum is particularly evi- I so ashamcd whcn my anklets are removed dcnt in rasiya's stock characters and thematic conventions. lbutl I like whcn mY deaardoesit While Krishnaite rasiyas rcmain familiar and widespread, equally popu- lar today are rasiyaswhose texts are explicitly or implicitly secular. Many Practically any sort r..,[cncountcr with a man may be interpretcd sexual- of these, like other regional f<rlk songs, present familiar complaints and ly, as in this song of modern singer-composer Sevafam Tanatan3: desiresof the young bahu.'l'hus, the singer asksto be allowed to visit her parents, or to attend a mzlaor a movie (see music ex. 8 below); often she Tiah droiuar ne hais hePalae lai requestsgifu from the bazaar: aur mohu phohal nei Bombal dihhaedai ehdin jiji gai ghnmneja boilhi jahc thela mm' " I'anhha bijli ho lagwaydebhartdr, mahina aegdgarmin Ic Trah nwi bailhi to hmt dubai dai Bring me an electric fan, husband, summer is coming Thc truck driver lured mc with his smiles (sung to tune #3 below) lle showed mc llombaY for lree I had gone for a walk, and I sat in his carrie r" ' All.ernately, the bahu complains, to a sahhi,or to her husband himself, As I sat in the truck hc pushed on the horn" ' about her worthlessand annoying spouse(see music ex.
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