SANGEET NATAK journal of the Akademi, is published quarterly by the Sangeet Natak Akademi (National Academy of Music, Dance and Drama for ). Printed at The Navchetan Press Private Limited (Lessees of Arjun Press) Naya Bazar, Delhi.

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A QUARTERLY PUBLICATION ON MUSIC, DANCE AND DRAMA SANGEET NATAK AKADEMI, RABINDRA BHAVAN, NEW DELHI JAN-MARCH 1974 Libra,., IAI8m' NATAK AKAD.I The views expressed in Sangeet Natak are the writers' own and do not necessarily conform to the opinion of the publishers. Permission to reproduce, in whole or in part, any material published in this Journal must be obtained from the Secretary, Sangeet Natak Akademi, Rabindra Bhavan, New DeIhi-l

Urna Anand: Editor Contents

5. USTAD AMEER KHAN Prof. Sushil Kumar Saxena

13. Pt. SHRIKRISHNA NARAYAN RATANJANKAR Dr. Sumati Mutatkar

20. FOLK-SONGS OF TRIBAL WEST Dr. Manik Kumar Raha

50. JHUMAR OF THE HIGHLANDS Manik Lal Sinha

60. FOLK-SONGS OF Prof. Praphulla Dutta Goswami Dr. Birendranath Dutta

Llbrar) ~ NATAK A~AUil .", DeJJd.lJ(J()OJ ,., USTAD AMEER KHAN: The Man and his Art

Prof. Sushi! Kumar Saxena

This study is no mere homage. It is a serious, though modest essay to determine what exactly we have lost in the death of Ustad Ameer Khan on February 13, this year.

My first thought is that the Ustad was an artist of singular courage. It is today common to criticise listeners. They are not eligible, we protest, to receive good music. Now this may be generally true. But I wonder if it is proper to blame the listeners alone. What they learn to like is determined by what is offered to them; and the latter is, in the main, musicians' own choice. They do not only cater for, but generate and fashion taste.

1. Popular Practice

Consider, in this context, the practice of our very best artists. The instru­ mentalists, barring one or two, regale audiences not so much with composition­ al excellence and propriety of vi/ambit playing as by resorting to bouts of rhythmic rivalry with the drummer, specially in quicker playing where struc­ ture and svara are both often sacrificed for excessive speed; and where listeners who applaud are only happily excited. Vocalists too resort to devices that reveal lack of faith in the purely classical, and in the aesthetic as distinguished from the merely euphonious. A very common artifice is the use of drut taans that often seem to stampede. The akara, here, often grows ungainly; sweetness and symmetry both almost disappear; and what remains to excite and impress us is sheer vocal acrobatics. Shrieking or crooning at higher notes in the taar is another common source of popular appeal. Other musicians, who have better sense, rely on for eliciting applause. Then, there are some who crowd the bandish' with words of likeable import - a practice which directly negates a basic requirement of vi/ambit singing: I mean, the breathing self-expansion of a 'sthayi' on the inside. SANGEET NATAK 6

I. ANALYSIS OF ART

2. Ameer Khan's uniqueness Ameer Khan was different; and, in this difference, solitary. I must mention in this context his absolute indifference, while singing, to the reactions ofthe audience. He would here heed only his music, and his own conception of it. Our response, or the lack of it, had just no effect on him - at least not visibly. When successful, his music could certainly move us deeply. But he never seemed to make a conscious endeavour to please the audience. This I regard as the hall-mark of a very great artist - of absolute commitment to music, as distinguished from that abject pining for popularity to which most of our best Hindustani musicians are today so subject; and of utter faith in classical values.

Ameer Khan faced audiences majestically - with his music alone, and with pure classicality. He never expected the drummer to embellish his singing. All that he needed was a reposeful theka, as a canvas for artistry ofingrowth and arabesque. And though he often sang sthayis of devotional text, did verbal meaning ever seem to overtop the fabric of his gayaki, the beauteous details of his manner and the mellowness of svara? We must answer in the negative.'

It is true that the Ustad would take special care to sing a tarana-antara in open 'akara'; and that - as in the case of his lalit tarana employing the words, dar a jane mun - he would often try to invest mnemonic syllables with a tissue of meaning," Yet, I repeat, the distinctive effect of his singing never seemed to issue mainlyfrom the meaning ofwords. The way ofrendering would always be paramount. To illustrate, and this is something which might have struck the more knowledgeable, the effect of the Persian couplet of Hafiz - in Ameer Khan's well-known 'suha' tarana - was certainly heighten­ ed, if not actually outweighed, by the nimble taan following the couplet, emanating offbeat andproceeding in a subdued voice, so thatthepattern would seem quicker than it in truth was.

3. The question of thumri As for '', it is not that Ameer Khan could not manage them. He would often sing them to his pupils at home; and with immaculate effect. His pupil, Pandit Amar Nath - who is thoroughly imbued with the temper of the Ustad - fondly recalls the delightful ease ofthe master while singing the 'bhairavi' compositions; chailwa ne mari katar. Yet no one, as we know, speaks of Ameer Khan's thumris. The reason simply is that he was convinced

1. From here onwards, I am generally, and quite heavily indebted to Pandit Amar Nath for supplying information about Ustad Ameer Khan's life and insights into his art. 2. Prof. Manfred Junius of the Venice Institute of Comparative Music assures me that, in the opinion of the Ustad, tarana syllables have a mystical significance. 7 AMEER KHAN THE MAN AND HIS ART ofthe abounding appeal of classicality itself; and that he therefore never sang thumris at public concerts.

4. The fabric of seriousness We all know the ragas the Ustad was fond of. The more important of these are : bhairava, poorbi, natgauri, abhogi, malkaus, lalit, darbari and marwa. Most of us remember his expositions of the last three. But I personally think Ameer Khan had the remarkable ability to invest whichever 'raga' he sang with a tissue of high seriousness. And I may here be allowed to repeat, with sub­ stantial variations, what I wrote about his darbari on April 3, 1957, as a part of the Seminar recitals organized by Sangeet Natak Akademi; for, it seems to seize the very essence of his gayaki :

The secret (of Ameer Khan's singing) lies not in the slowness of the rhythm­ cycle to which he sings - be it 'jhoomra' or 'tilwara' - but in the contrast which he freely accomplishes between a meteoric 'taan' and the responseful articulation of a vi/ambit sthayi. The flitting figure, tend to deepen the ground, and hence a tissue of thought appears encompassing the song. Not any great ebullience of feeling - such as one associates with the music of Omkarnath or Kumar Gandharva - but a certain contemplativeness and serenity, - this is the charm which distinguishes Ameer Khan ...

An Ameer Khan svara is at once a tuning of the self, a calm that spreads .. Gulam Ali's, glows - with a pulpy luminosity.. and that of Kumar is often a visible upsurge of feeling.

Of the other excellences of Ameer Khan's singing, the following seem noteworthy :

Unhurried evocation of the form of sthayi.. reverential access, as if with unshod feet, to the core of the rago" being rendered - technically called barhat; due repetition of sthayi after every few taans, so as to make it seem the veritable ground, not merely the first line of singing; and due attention to the mandra where, as in other regions, a rich mellow voice, with its (cultivated?) husky umbra.' directly makes for both depth and dignity.

I do not wish to blink the little flaws that sometimes disfigured the singing of Ameer Khan: say, a little loss of colour in making the voice move un­ brokenly to the tonic from 'nishad' (in the mandra); inability to touch the 'sa'

I. Here, the gandhar of which I wrote : .....some consummate renderings of the cardinal 'gandhaar' ...one of them being so fine, yet steady that though moveless in being, it suggested oscillation - bringing out the svara's real charm which nestles in tentativeness, even like a fading tint". 2. This partly explains why Ameer Khan's drut taans emanting from the mandra would often seem to up-gather themselves like a cloud. I made a mention of this excellence in my remarks on his tarana on this occasion. SANGEET NATAK 8

quite truly after an instant of silence; over-refinement of vi/ambit, producing insipidness; and some impairment of sweetness and roundness of akara in the quicker patterns. Nor can one say that his music never failed. It certain­ ly did at times - mostly with audiences that sought titillation of easy appeal. But we should at once temper this notice with the thought that those who please consistently - and very widely - often try to do so, by employing devices which are not quite laudable; and that in the process they cannot but vulgarise the music that they offer.

5. From form to unform' And I here feel impelled to narrate how I was once captivated by the music of Arncer Khan. I recall a particular lalit rendering of his at the Constitution Club, New Delhi, more than fifteen years back, and well before sunrise. After the first few minutes of'vi/ambit' treatment - heightened by a sprinkling of 'drut taans' - the music seemed strangely disembodied from 'raga-tala' distinc­ tions" into a kind of musical incense borne aloft on the very wings ofdevotion; and this without much help from the meaning ofthe words about which the Ustad was never very particular. His music, at its best, was rarely a dazzle. It would rather be an influence, an atmosphere which would just be with us till long after the recital. This something ethereal is not of course a part ofwhat is purposely presented. It issues from the dynamics of aesthetic responses.

Why Ameer Khan developed the stylethat he did should become clear as we turn to the next section of this essay.

II. THE MAN AND IDS VIEWS

6. Early life and influences Born at Kalanaur in 1912, Ameer Khan spent his early childhood and the greater part of his adult life at Indore. Here, thanks to his father Shah Mir Khan, his impressionable years were spent under the influence of the music of two very great masters: Rajab Ali Khan, the vocalist; and Murad Khan, the Veena expert. Shah Mir Khan himself was a sarangi player," and so quite conversant with the subtleties of vocal music. The two musicians from whom the growing boy himselftried to benefit, however, were: Abdul Wahid Khan, and Amanat, brother of the well-known Aman Ali Khan.

1. I borrow this word from Bosanquet, who usesit in his remarks on Kant's treatment of the Sublime. Bernard Bosanquet, A History of Aesthetic, George Allen & Unwin Ltd., London, 1956 Reprint, p. 276. 2. This happens when an 'atmosphere' has been worked up through 'vilambit' singing of the right kind. 3. Ustad Ameer Khan's younger brother, Bashir Khan, too is a Sarangi player at the Indore Radio. 9 AMEER KHAN THE MAN AND HIS ART

A look at these early influences gives us a clue to understand some features of Ameer Khan's own music. Rajab Ali Khan would revel in drut singing. Abdul Wahid Khan, on the other hand, was a master of vi/ambit. Ameer Khan synthesises the two rival emphases. His taans are subtly designed like Rajab Ali's: and his slow singing has the staidness of Wahid Khan at his best. Aman Ali's influence is also here manifest - mainly in the compositional excellence of Ameer Khan's sthayis? Ever eager to learn from the knowledge­ able, the Ustad even 'took' an Aman Ali Khan 'bandish' in shahana from Prof. Shiv Kumar Shukla- of Baroda University.

7. Views OIJ. music The one thing that Ameer Khan liked to emphasise about his early training was that for the first 25 years of his life he devoted considerable time to sargam (Solfa) singing. To the question why this aspect of singing should be deemed so important, Ameer Khan's set answer would be that, besides helping identification of notes - and so improvisation too, without any risk of infringing the grammatical form of the 'raga' - sargams lend variety to singing by their own audile diversity. Now, this is certainly interesting and true. Pa keeps the 'akara' open: ni shows the voice as subdued; and ma, if steadily sung, has about it a clear measure of nasal resonance - which the alapiyas call 'anuranatmaka' - though not as manifestly as it some-times characterizes a tarrying at ni. Such variform effects do much to relieve the monotony of open akara singing.

With regard to 'taans, Ameer Khan's considered opinion was that, what­ ever be their design - which is obviously essential, and has to be internally consistent - the execution of taans should always involve a measure of gamak and lahak. The first of these elegances of manner gives to taans a measure of depth, which is so necessary for classical singing; the second - that is, lahak - tempers the gamak, preventing the 'akara' in 'taans' from appear­ ing affectedly deep; and their dana - or discreteness of constituent notes­ from seeming 'arrested', as they say. Such taans, the maestro would add, can certainly be tayaar - or fit for effective presentation' but not very fluent or tez,

8. Two points to ponder Two more points may here be made; for, they seem clearly allied to what we have just said : First, the right kind of depth accrues to akara only when it has mellowed through proper cultivation, specially in the mandra; and not from any wilful effort at the moment of singing.

1. Arneer Khan, we may note, was a good composer too. 2. Who is perhaps the best known pupil of Ustad Arnan Ali Khan. 3. This is not the way the word is commonly understood in our musical discourse today, but it is warranted by Hindustani parlance generally. SANGEET NATAK 10

Secondly, subtleties ofmannerlike meend, gamak and tahak have a major role to play in the proper management of'ragas' which are narrow - that is, those which employ, say, four notes, and have built-in gaps between their constituent svaras. These "gaps' cannot be bridged with beauty by voices that are unable to soar and sweep with perfect control, because oftheir inattention, during training, to the excellences in question. This is precisely why ­ Amcer Khan would say, with a twinklein his eyes-"schools' which specialize in quick coaching are forced to advise their pupils to follow theeasier method of building the taans in 'ragas' like gunkali, hindol and meghranjani upon two successive articulations ofthe same individual note.

Now, this artifice surely makes for convenience; but does it not at once damage, I ask, the required inner spareness of such ragas? Conversely, whereas to the ill-trained. they may seem only sankrha (or narrow) - or as having little room for embellishments - do not these melody-types appear spacious, and make for greatness in music, ifthe inter-svara gaps are taken in the manner referred to?1

Moreover, it it hardly honest to modify, in taans; the original paltas or svara-samoohasofa raga merely for the sake of greater ease. Why should not one follow instead the desirable, though difficult, way oftrainingthevoice along right lines ?

Ameer Khan's own voice, r may add, could soarto, and sweep across far­ off svaras with grace and felicity. This has in faet been a feature of his 'drut taans:' It varies their nimbleness by incorporating flightiness- as sweeping stretches that seem to make the music fly.

All this, however, is the harvest ofa lifetime. Ameer Khan, incidentally, was thoroughly opposed to theidea ofshortcutstosuccess in music; and ifhe could sing? compositions in ragas like meghranjani; such'as the 'tritala' one beginning as follows ;

Ek Omkar nirankar for hours together, and with unflagging effect, it was mainly because of his superbly trained voice and svara-sense born ofmastery ofsolfa-singing,

9. Rationale and opinions Yet, as an artist, the Ustad was by no means confined to practice. His rationale ofgood singing seemed eminently sensible. Why did he prefer such

I. This is how I look at the matter. 2. As, I am assured, he often did for his pupils, privately. I got this assurance from Pandit Amar Nath, in my interview with him on 12-3-74. Incidentally, Amar Nath himself sang the composition here referred to with remarkable ease and effect, on 26-2-74, at the Rabindra Bhavan, New Delhi, on the occasion of the memorial meeting organised by Sangeet Natak Akaderni. II AMEER KHAN THE MAN AND HIS ART slowness in vi/ambit? His answer to this would be readily as follows : in a slowly moving theka the sama does not recur soon and the mind gets plenty oftime to attune itself with the mood of the 'raga' before having to conform to the eventual constraint of rhythm.'

Of his other views on music the following may be mentioned

So far as possible, the 'sama' should be touched with an akara-bol, so that the 'sthayi' may flower at the focus of rhythm. The antara would seem not merely to follow, but to belong to (its) 'sthayi' ifthe two have similar endings­ similarin respect offlow. Lagao, orthe manner ofapplying voice onto'svaras', is at least as important as sheer physical sweetness. Singing is superior to instrumental music in two clear respects; expression is here more direct, and the voice is able to gather scattered svaras more gracefully than stringed instruments generally can. Proper treatment of taar notes is desirable," but the mandra is more important for effects of seriousness. Mastery over merkhand is, of course, indispensable for every learner of classical music. But the teacher's personal attention, and the example of his own music, are even more important. What helps most in the learning of music is, however, the pupil's own intelligence and industry. Musicologists and the present day 'schools' are not of much help, so far as good classical singing is concerned. Their only clear superiority over the Ustads lies in their knowledge ofEnglish.

10. Ameer Khan's influence Quite unlike other traditional teachers, Ameer Khan never sought to impose his own style on learners. This is why his pupils do not all seem to conform to his gayaki meticulously. The music of Amar Nath, though he is himself a composer ofno mean merit, is ofcourse a clear image of the master; at its best, it is really deep, spacious and moving. But the Singh Bandhu," on the otherhand, have a style of their own, and are yet winning growing notice. All those, however, who have come under the spell of Ameer Khan are alive to the best in our classical music. This is as true of his other pupils - Munir Khan lsarangi), Mukund Goswami (been), Poorabi Mukherji and Pradyurnna Mukherji - as of the aforesaid ones.

The Ustad, indeed, has been able to instil - by the very example of his art - a deep love of serious, contemplative music into the hearts of many young listeners allover the country. This itself, I believe, is ample warrant

I. I find this unsatisfactory. In principle, rhythm should not merely contain or encompass, but permeate a good bandislz. On the other hand. I cannot deny the remarkably reposeful effect of Ameer Khan's singing. 2. Ameer Khan would emphasise this competence while praising Ustad Bade Ghulam Ali. 3. This is how we commonly designate the rising pair ofour young vocalists, Tej Pal Singh and Surinder Singh. I may add that their third

III. CONCLUSION

Did he ever make any concession to popular taste? Only one, I may ans­ wer, and that too inoften. He would sometimes curtail the extent of vilambit, and begin 'drut' sooner than he really wanted to. Otherwise, he was resolute - truthful throughout to his own artistic sense.

I wonder if, in independent India, any other (performing) Hindustani classical musician has been more unbending, and more successful without organised support than this great 'khyaliya', Ustad Ameer Khan. His passing away heightens ourduty to care for those who are wedded to his kind ofmusic, so difficult and so open to greatness.

It is not enough to remember him. We must cherish the values he did.

PROF. S. K. SAXENA. teaches Philosophy at Delhi University•. He is a well-known critic and scholar of Hindustani Music. See "Sangeet Natak" 17. Ustad Ameer Khan Performing at the Awards Concert

Receiving the Award from the President PI. S.N. Ratanjankar In Performance

With PI. Nehru at the Awards Ceremony. SHRIKRISHNA NARAYAN RATANJANKAR

Dr Sumati Mutatkar

Note-i-Padmabhushan Pandit Shrikrislina Narayan Ratanjankar died on February 14, 1974 at the age ofseventy-four. This article is in humble homage to the multifaceted genius of one who gave himself entirely to the cause ofmusic.

It is a unique coincidence that Shrikrishna Narayan Ratanjankar was born on December 31, 1900,just after the stroke of midnight even as the nine­ teenth century was being rung out, yielding place to the twentieth. This was a period of an all round awakening and revival. In the field of music, a climate of keen and active interest in the artand science of music and a deep concern about the preservation and propagation of India's invaluable musical heritage had already been created by the dedicated efforts of Pandit Bhatkhande and Pandit Paluskar,

Shrikrishna's father Narayan Rao, an employee in the Bombay C.l.D., was an erudite scholar of Sanskrit and Marathi. A fairly good sitar player, he was a discerning lover of music with a deep regard for India's glorious cultural traditions and learning. This family environment played a significant part in the formation and development ofShrikrishna's personality and charac­ ter, inculcating in him an idealistic approach to life, devotion to serious pursuit and learning and a determination to. be of service to the country.

The father noticed with satisfaction that his second son Shrikrishna had a very Sweet voice and an extraordinary talent for music. Motivated as it were by some providential prompting, he decided to provide Shrikrishna an oppor­ tunity for receiving best and all round training in music. Thus, at the age of seven, Shrikrishna was put under Pandit Krishnarnbhat Honnawar, a pupil of Ustad Kale Khan of the Patiala Gharana. Within two years, the brilliant and talented pupil attained amazing mastery over the musical material i.e. subtle and perfect swarajnana. Subsequently Shrikrishna learnt for some time from Pandit Anant Manohar Joshi; a disciple of Pandit Balkrishnabua Ichal- SANGEET NATAK 14

karanjikar of the Gwalior tradition. By quick strides he learnt prominent ragas and authentic compositions with gayaki.

It was at this stage that a common friend brought Pandit Bhatkhande to Ratanjankar's place to listen to the child prodigy. Bhatkhande was deeply impressed by the boy's performance and the exceptionally high level of his musicianship at the tender age of nine. To test him further, he asked the boy to sing the twelve notes of the gamut consecutively which the boy did very well with amazing mastery. The guest made encouraging remarks and made a gift of a packet of sweets to the boy. Ratanjankar cherished the memory of this first meeting with Bhatkhande recapturing the childlike wonder and excitement of the imposing and yet affectionate personality of the important caller who was to shape and direct the course of his entire career and life.

By this time (1909) Bhatkhande's unceasing quest and efforts to collect the rich materials and relevant facts regarding the practice and theory ofmusic had taken concrete shape. On the basis ofan intensive and analytical study of these, he had consolidated his ideas for the reorganisation and resystematisa­ tion of the music that was prevalent. His valuable works had already started coming out in print. He was gathering momentum in his multifaceted task of installing the art and science of music in their rightful place in the total perspective of the cultural, academic and social life of the country. He was intently looking for someone with extraordinary artistic and intellectual capacities to shoulder this gigantic burden and carry out his master plan.

Shrikrishnas father had developed a respectful regard for Bhatkhande's achievements and noble aims. At his instance Bhatkhande took upon himself to impart comprehensive training in music and musicology to Shrikrishna and groom him for full participation in his scheme for the betterment ofmusic. He now realised that this boy ofthirteen was a genius, had a highly cultivated family background and was the answer to his call.

Thus began a life-long master-disciple relationship which was to make an epoch-making contribution to the cause of Indian music, Under the enlight­ ening and inspiring influence of Bhatkhande, Shrikrishna made a deep and analytical study of the vast treasures of Hindustani music and also acquired a thorough grounding in the historical and musicological aspects.

For acquisition of further achievements in practical learning and concert techniques Ratanjankar was sent up by Bhatkhande to Aftab-e-Mousiqui Ustad Faiyyaz Khan the versatile renowned Darbar musician in the service of Maharaja Sayaji Rao Gayakwad ofBaroda. As a formally accepted disciple ofthis great Ustad, Ratanjankarreceived training under him for full five years. This was an extremely rewarding opportunity for Ratanjankar, The Ustad was happy with this gifted pupil whose grasp and execution were excellent. Ratanjankar benefitted immensely by the opportunities he was given to sing 15 S. N. RATANJANKAR

with the Ustad in his private and public performances as also at the Durbar Mehfils. In fact these formed a prominent feature of his training even more than any regular lessons which were comparatively few. The Ustad always remained proud of this pupil whom he affectionately called Shrikishan.

Ratanjankar came down to Bombay from Baroda in 1922. Hereafter Bhatkhande carefully initiated him into the problems and techniques of teach­ ing musicto classesin a systematic and fruitful manner. Ratanjankar attended importantand pioneering music conferencesconducted under the able direction of Bhatkhande at which prominent musicians and musicologists of the country came together and deliberated on the practical and theoretical aspects of music and where important decisions regarding forms of some of the Ragas as also on other aspects had been arrived at. This experience added a new dimension to his knowledge and vision. In the meantime, Ratanjankar was pursuing his academic studies and in 1926 he graduated from Wilson College, Bombay University.

Ratanjankar now emerged fully accomplished as an outstanding perform­ ing musician, a learned scholar, an able teacher and an educationist with a sense of dedication to the noble cause of spreading the divine message of music throughout the country.

At this juncture, Bhatkhande's long cherished proposal to establish a premier institution for systematic dissemination of musical training and knowledge assumed concrete shape and with the help of some wealthy and influential music lovers and connoisseurs, Marris College of Hindustani music was started at Lucknow under the direct control of Bhatkhande. For entrust­ ing this institution embodying his own vision, Bhatkhande considered Ratanjankar singularly and eminently suited. Aftertwo years of professorship, Ratanjankar was installed as Principal of this college.

With this started a new chapter in Ratanjankar's life.

With a missionary zeal and conscientious approach, Ratanjankar identi­ fied himself with the college and earned for it a position of supreme prestige and country-wide reputation. During his regime Marris College came to be considered a premier institution for a comprehensive study of the practice and theory of Hindustani music. Ratanjankar was the life-breath of the insti­ tution and gifted and talented enthusiasts from all over the country came over to Lucknow to learn under this great master.

His technique of imparting training was characterised by utmost clarity in respect of raga exposition and compositional structure. Phrase by phrase he analysed a raga giving a comprehensive idea of its potentialities. On this solid foundation rested the edifice of his improvisation and elaboration. Ratanjankar made special efforts to present ccmplex ideas in a rational and SANGEET NATAK 16 simplified manner. Added to this was his brilliant and imaginative style of singing. His classes became so popular that students eagerly looked forward to these. In fact during his evening classes large crowds stood outside the classroom listening spellbound.

Apart from teaching to classes Ratanjankar was always available for in­ quiring students seeking individual guidance. His single room apartment was a veritable ashram of a learned rishi where sadhana and quest for musical knowledge and beauty were always welcome, knowledge impartedand guidance given. While hundreds of students passed out from Marris College mentioning with pride their association with this renowned personality, there are over fifteen persons who have had the good fortune of receiving individual guidance and training from Ratanjankar. Some of these have earned reputation as musicians and scholars and are holding responsible positions in Government as well as Universities and other organisations.

Ratanjankar laid due emphasis on the practical aspect of music. Weekly demonstration sessionsbecame a partofregular activityat the college. Students were given opportunities to perform before audiences, and members of the staff and Ratanjankar himself demonstrated and performed for the benefit of the students.

All along Ratanjankar was engaged in the pursuit of knowledge and scholarship. He wrote several learned articles and books, read papers and delivered lecture demonstrations. For over four decades, he was a prominent figure at seminars and conferences.

Ratanjankar was recognised as an eminent authority on Hindustani music. His advice and active co-operation was sought by Universities, Public service commissions, All India Radio and music institutions and organisa­ tions all over the country. With a sense of duty and moral responsibility he was always willing to lend his services to the furtherance of the cause of music in all its avenues. This entailed long train journeys which he thoroughly relished as opportunities for doing his work undisturbed.

As a creative composer Ratanjankar occupies a foremost position. He has to his credit over five hundred compositions COVE-ring a wide range from Dhrupad, Khyal, Tarana, Tappa to entirely new innovations, published in three volumes of Abhinava-geeta manjari. There are compositions in extant ragas revitalising the essential raga form and unfolding new angles; there are some to interesting mixed ragas like Sawhi-Kedar, Hem-nat. By employing the accepted principles and processes of raga-creations he created entirely new ragas indicating rare combination of intellectual and artistic genius. In adopting ragas of the Karnatak a system like Charukeshi; Basant Mukhari to the Hindustani idiom, Ratanjankar imparted a new beauty and perspective to them. He was fascinated by the Varnam of Karnatak music which he felt,' 17 S. N. RATANJANKAR

was also helpful in preparing a solid ground work of swara and laya. On the pattern of South Indian Varnam he composed Varnatns which can be considered a common ground between the two systems. Among his composi­ tions there are lovely songs in Sanskrit. Some of his Tarana compositions have a Sanskrit verse with appropriate thought content in the second movement (antara). Tala-lakshnageeta is a new type of composition devised by him. Ratanjankar wrote three full-fledged operas. These were produced on the stage and also rec-orded and broadcast from All India Radio. Several of his compositions gained wide currency. As a composer he has made an enriching contribution to the world of music. According to Ratanjankar, folk tunes ofthe various regions have a basic relationship with ragas of the sophisticated and origin of music and many ragas have been traced in folk tunes. In support of this he used to demonstrate several folk tunes employing the notes of ragas like Gaur Sarang Des, Phadi, Mand. He was carrying on research in any possible connection between the ancient gatis 18 in number and the 18 folk tunes popular in different regions all over the country. He undertook tours of regions like Bharatpur in and Mandi Suket in the Himachal Pradesh; analysed the tunes and derived inferences. A broadcaster of eminence - right from the inception of AIR, Ratanjankar regularly appeared in its programmes. He figured in prestigious and important programmes like the , National Programme, Sangeet Sammelan, planned by AIR. With a pair of pupils providing the Tanpura drone and vocal support, Ratanjankar's programmes were noted for their rich musical content, chaste and clear of exposition and freshness of approach. Unlike many reputed platform singers, his repertoire was large and varied. He enjoyed equal facility whether a raga was well-known or lesser known, simple or complex. Very often his radio and other programmes provided him inspiration and opportunities for composing new Dhrupad or Kltyal or Tarana Bandish and even new ragas. His music bore the stamp of his scholarship and creative imagination. His illustrated talks and appreciation programmes were invaluable in creating an atmosphere of discerning interest and enhancing the level of music appreciation, among lovers of classical music. He applied himself seriously to AIR's assignment to prepare a Radio dictionary for music. Although incomplete, the material prepared by Ratan­ jankar under the project and deposited in AIR's archives is a valuable docu­ mentation consisting of verbal descriptions accompanied by actual demonstra­ tions of raga, forms and musical techniques. The Vice Chairmanship of the Music Audition Board set up by All India Radio in 1952 was a most difficult, delicate and vulnerable position . beset with controversies and antagonisms. Ratanjankar rose to the occasion and with the cooperation of the members of the Board he accomplished the challenging job to the best of his ability and judgement. He did a similar job for Radio Ceylon at the invitation of the government of Ceylon. As the first Vice-Chancellor of the University of Indian Music at Khairagarh, Ratanjankar established that institution on a sound footing. SANGEET NATAK 18

Raranjankar's high and varied achievements and his selfless devoted services came to be acknowledged and high honours were conferred on him. In awarding him their highest degree of Sangeetacharya (D.Mus.) Bharkhande Sangeet Vidyapeeth and Indira Kala Sangeet Vishwa Vidyalaya earned honour for themselves. In 1957 the title of Padmabhushan was bestowed on him. As a token oftheir high esteem and regard for Ratanjankar, Madras Music Academy bestowed on him unique honour by naming him distinguished ancl. eminent musician and scholar. He was elected Fellow of the Sangeet Natak Akademi. To mark his completing of 60 years, an elaborate celebration programme was organised by his pupils, well-wishers and admirers. Glowing tributes from prominent personalities were received, commemoration volume brought out and a music festival held at Bombay.

During the last years of his life Ratanjankar was associated with Vallabh Sangeet Vidyalaya as its honorary Director. He was persuaded to accept this by Swami Vallabh Das, a pupil of Ustad Faiyyaz Khan and head of a Vaishnavite sect who held Ratanjankar in the highest esteem and regard.

Enshrined in a short, thin and frail physique, Ratanjankar was a towering genius combined with an austere nobility of spirit. He lived and died in a heavi­ ly laden harness. Onlya fewmonths before his death, in an ailing and bedridden condition he completed a book in Marathi on theory of music. Through his lasting and manifold contributions to the cause of music, Shrikrishna Nat ayan Ratanjankar will live as a guiding and inspiring light.

APPENDIX

WORKS OF PANDIT RATANJANKAR

A. Published

.,1. Tall Sangraha in three parts covering 45 Ragas. Abhinava-Geeta-Manjari in three volumes containing over 500 compositions, a wide range of the various musical forms of Hindustani and Karnatak music as well as some entirely new creations of his own. 3. Varnamala - Collection of Varnam compositions in Sanskrit on the pattern ofSouth Indian Varnarns. 4. Tal-Lakshngeet Sangraha-Collection of compositions embodying the lakshnas or the various talas, 5. Govardhan-Uddhar-Opera in Brij-Bhasha. 6. Hindustani Sangeet KiSwara/ipi-monogram on Notation system for Hindustani music. 7. Sangeet Shiksha - 3 parts. 8. Abhinava SangeetShiksha- 2 parts. 9. Sangeet Paribhasha - book in Marathi on theory ofmusic. 10. Ratanjankar commemoration volume-Part III. Articles and Research Papers covering a wide range of topics and aspects ofIndian music. II. Bhatkhande - (National Biography Series). 19 S. N. RATANJANKAR

B. Unpublished

I. Shira manglam - Opera in Sanskrit based on Kalidasa's 'Kumar Sarnbhava'. Staged at Kalidasa Samroha, also broadcast from AIR. 2. Rani Lakshmibai ofJhansi (Pranahuti)-Opera in Hindi (Khadi Boli). 3. Chatur Dandiprakashika ka Hindi Anuvad. 4. Swaralllala Kalanidhi ka Hindi Anuvad 5. Sangeet Ratnakar's Swadhyaya and Ragadhyaya-critical review in English. 6. Lakshya Sangeet Karika - Commentary in Sanskrit on Bhatkhande's Sanskrit treatise Shreema//akshya Sangeetam.

Dr. SUMATl MUTATKAR. Dean ofFaculty ofIndian Music in Delhi University is a musicologist ofnote, S{'{' "Sangeet Natak" 15. FOLK-SONGS OF TRIBAL WEST BENGAL

Dr Manik Kumar Raha

The Folk-song plays a very important role in developing human culture. It is connected intimately with rural life. For the people it is a medium of the expression of their sen.iments. It reflects not only their sorrow and happiness, their miseries and joys, but also the structure and function of their society, to a great extent. Tagore also thinks that "we may discover in these folk­ rhymes many a trace of joy and sorrow, pleasure and pain - coming down the ages. Entwined in their broken rhymes one may still trace many a tale of hurt and sufferings. They are fragments of emotions and sentiments from bygone days" (Tagore : 1767 : 2). A folk-song, as we may recall, is a simple expression of one's feelings about oneself, about one's kith and kin, about everybody and every thing around one, of manners and behaviour, of life and activities. It also describes nature's abounding beauty, the chirruping of the birds, the murmur of the spring, the silence of the forest. It narrates the simple story of pleasure and pain of day-to-day life. "Folk-literature as also folk-music, may not soar high in imaginative flights. It may not have the ostentation of classical music with its flourish and elaboration. But deep in the heart, there is a melody of pure joy. Besides, the poet who is able to compose a song of everyday life of the village - endowing it with rhyme and rhythm - gives voice to the inarticulate soul of the masses" (Op. Cit.). Folk­ songs have distinct features, different from the songs of the modern world. While narrating the features, Mahapatra opines, "These are created by indivi­ duals or groups, but generally without the identity of the authors, and are prod ucts of a society or region. The peculiar feature ofthe songs is that, the songs lack the style, personality and idiosyncracy of the authors, which are attributes of the literature of sophisticated society. The folk-songs are, there­ fore, the expression of the simple mind having primitive impulses and these are the creation of a society with different life-activities". (1967 : 156).

The folk-songs of the tribals of West Bengal also depict the above features. Simple in rhyme; and rustio in rhythm, these elaborate the: emotions and 21 FOLK-SONGS OF TRIBAL WEST BENGAL

sentiments, the desires and grievances, the pleasures and pains of those mute, peaceful, simple souls. Here also, these songs are composed and sung by tribal bards, who do not desire publicity. They compose and sing for them­ selves and for their own people, and their congeners voice along with their melody.

In this article, I have tried to discuss some distinct folk-songs sung in tribal West Bengal, their nature and type, the sentiments expressed through these songs and the changes therein due to contact with the modern world. For this purpose I have divided West Bengal into three distinct zones - (1) Northern Zone: which includes the districts of Darjeeling, Jalpaiguri, Cooch Behar, West Dinajpur and MaIda, (2) Central Zone: which consists of the districts of Murshidabad, Birbhum, Bankura Purulia, Burdwan and Nadia and (3)Southern Zone: which covers the districts of Hooghly, Howrah, Calcutta, Midnapur and 24 Parganas. As it is not possible to cover the folk-songs of all the tribals ofWest Bengal, I have chosen for discussion some representative folk-songs of some selected tribes from these three zones. The folk-songs of the Lepcha, the Toto and the Rabha from the Northern Zone; those of the Bhumij and the Santal from the Central Zone and similar resonants of the Oraons and the Mundas from the Southern Zone. However, before I turn to the main subject matter, a brief account ofthe tribals of West Bengal and the present trend of their songs and music is necessary.

Tribals of West Bengal and their Folk-Songs In West Bengal there are 41 Scheduled Tribes of which 22 are Scheduled only in Purulia district whereas 11 others are scheduled throughout the State except Purulia district (Das et.al : 1966 : XIV). In this State the Scheduled Tribes number over two-and-half-million. They are distributed in varied numbers throughout the State. Taking into view their numerical dominance, it may be said that only three districts (Darjeeling, Jalpaiguri and Purulia) have more than 15% tribal population out of the total population in the districts, two districts (West Dinajpur and Bankura) have a tribal population between 10.1% to 15.0%, in four districts (Malda, Burdwan, Birbhum and Midnapur) the numerical strength of the tribal population varies from 5.1% to 10.0%and the rest of the districts (Cooch Behar, Murshidabad, Nadia, 24 Parganas, Howrah, Calcutta and Hooghly) have a tribal population of less than 5.1%. "Regionally the tribal people of this State may be divided into two groups - those who live in the plains areas and those who live in the Terai and hilly areas. On the basis of physical features, they may again be divided into two groups - Australoid such as the Oraon, the Munda, the Santal, the Bhumij, the Kheria, the Mahali and others, and Mongoloid such as the Lepcha, the Bhutia, the Rabha, the Mech, the Garo, and the Toto. Of these tribals, the members of the former group are found in plains, Terai and hilly areas but those of the latter group are found only in Terai and hilly areas (Raha: 1967 : 57). The population of the individual tribal group varies greatly. According to 1961 Census the Santals have the highest number covering 58.42%of the SANGEET NATAK 22

total Scheduled Tribe population of the State. Following the Santals, in order, come the Oraon (14.48 %), the Munda (7.80%), the Bhumij (4.44 %) and the Kora (3.02%). Others have smaller frequencies. (Op. Cit.).

In West Bengal, though the Scheduled Tribes population forms 6.82% of the total Scheduled Tribe population of India and 5.88 % of the total population of the State of West Bengal, yet, as they live scattered throughout the State, they always come in close contact with the neighbouring Hindu castes who are numerically, economically, socially and politically dominant. Due to their contact for centuries with these caste people, they have developed a keen aspiration to be accommodated within the Hindu social system, for the fulfilment of which they started imbibing various cultural traits from their Hindu neighbours. As a result the present day tribal gives a distinct reflection of the Hindu culture though, of course, the borrow­ ings of Hindu cultural traits by these tribals vary in degree and kind from tribe to tribe. Those tribals who live in somewhat isolated conditions or areas such as the Toto, the Rabha and the Garo living in the Reserve Forests and other isolated areas and also those tribals who are concentrated at places in good numbers and practise cultural conservatism, have preserved their tradi­ tional culture to a considerable extent. In their case, though the borrowing is considerable, the image of the same is not much reflected. The borrowing has been so imbibed, as to evolve a traditionally oriented cultural pattern.

This condition also holds good in the folklore of these tribals. As 'the folk-song of a tribe is built in compliance with their cultural pattern, their manners and customs, their rites and rituals', so 'ifa tribe changes its culture, the. folk-songs undergo innovations accordingly.' In the case of the tribals of West Bengal we seethatwhere conditions of isolation, cultural conservativeness etc. prevail, they are able to keep their traditional folk-songs alive to a consi­ derable extent. But where the second condition is prevailing i.e. where they are swiftly falling under the sway of the Hindu fold, their traditional folk songs have fallen into disuse and been replaced by the songs of the local Hindus.

The second type of change in their folk-songs has occurred where they have fallen victims to the radio and films, in particular. In many cases the young tribal folk sing film songs or other modern songs which they hear over the radio and on the gramophone. The enchanting and attractive melody of movie music steals the heart of the young tribal. And, as they venture to the nearby towns and go to the movies, they emulate the tunes they hear therein and make their village evening sonorous with the emulated sound of music.

The radio, particularly the transistor, is playing an important role in remodelling the music of the tribal people. As, in recent years, radios are readily available at comparatively cheaper rates and portable transistor sets can be run without electricity and carried anywhere. Especially the latter type contraptions, adorn many a tribal house, the younger generation is mostly 23 FOLK-SONGS OF TRIBAL WEST BENGAL

attracted by the music broadcast over the radio or transistor. Besides, a good number of restaurants, hotels and many other shops in the tribal areas have radios or transistors, and these keep playing as long as they remain open. The tribals go to the shops anc' listen to the music. As a result of all this, the folk-songs of the tribals are gradually falling into decay, and their place is being taken by the modern songs.

Folk-Songs of the Northern Zone Inthis zone I have included three tribes - the Lepcha living in the district of'Darjeeling, the Toto of the district of Jalpaiguri and the Rabha of the districts of Jalpaiguri and Cooch Behar.

The Lepchas (Population according to 1961 Census, is 15,309 forming only 0.75%of the total tribal population of West Bengal), are mainly concent­ rated in the district of Darjeeling (14,910) . On the terraces of the hills and mountains are found their habitations, dispersed into villages. They are main­ ly cultivators, and terrace cultivation is the principal subsistence activity. (Das & Banerjee: 1962: 13-16).

Lepcha songs can be classified into different groups (1) Love songs (2) Humorous songs (3) Songs of lament or lamentations (4) Ceremonial songs (5) Agricultural songs (6) War songs etc. (Op. cit. : 125). So it is seen that the life ofthe Lepchas is all sonorous and melodious with songs of various types. A few such songs are cited here :

Nam Toohat Lat Non Ne Chak Doon Doon Mong 20 Pat To Chat Ka Chak Doon Doon

During the agricultural season the Lepchas remain busy with various agricultural activities. At the time of sowing, when the Chak Doon birds fill the sky with their cooing, the Lepchas sing with great rejoicing,

Nam Toohat Lat Non Ne Chak Doon Doon Mong 20 Pat To Chat Ka Chak Doon Doon Ka Arfo Lik-Kang Sa Chak Doon Doon Gram Gram Pat Gat Shyo Chak Doon Doon Kyo Kachen Tyat Tachat Chak Doon Doon An Ore Lat Man Gong Chak Doon Doon 24 SANGEET NATAK

Tachat Ore Ka Chak Doon Doon Hing Book Thyang Gat Shyo Chak Doon Doon Chang-Ka Ak-yot At-yong Chak Doon Doon Arenum Matlunge Chak Doon Doon

(The sowing time of millet, barley and wheat has come. The pigeons cry and ask us to make life lively. The millet and barley will give added vigour and so be quick with the sowing).

From a long distance one can hear their songs echoing from one corner of the mountain to the other corner.

The time of sowing has come Chak Doon Doon Let us all go to the field Chak Doon Doon The field is overflowing with the harvest Chak Doon Doon. New seeds are to be sown Chak Doon Doon We are to get barley and wheat Chak Doon Doon Bright days are ahead Chak Doon Doon That is why we are to sow Chak Doon Doon Everybody thinks like this Chak Doon Doon.

Besides agriculture, songs are connected with the various aspects of their life. Various festive occasions become illuminated with their songs and dances through which they depict various historical and legendary lore. These stories are also narrated on other different occasions. One such song runs like this:

Sleep my little Sleep my dear Sleep silently Nobody will touch you Our enemies, Tibet and Bhutan Have attacked 25 FOLK-SONGS OF TRIBAL WEST BENGAL

When you will grow older You have to remain awake And overcome the enemy So my dear one Please sleep silently.

Like the folk songs of all other tribal groups, among the Lepchas too, love songs play an important role. These songs express through the singing ofthe young boys and girls, the ardour and joy of life. To fulfil their young dreams of youth, the boys and the girls sing:

Chya - nya - nya Payong Sa Akong Ka Chya - nya - nya Ore Ka Ho Lom Markhan Gong Chya - nya - nya Kasum Ka Lom Yong Chya-nya-nya

Afar Agyap Sa Dam Chya-nya-Nya flo Ore Dem Myan Gong Chya-nya-Nya Go Adom Dem Bo Yong Chya-nya-Nya Chee Sa Tafyep Chya-Nya-Nya

Kasam Do Nyet Yong Chya-nya-Nya Nam Bu Dam Atong Chya-nya-Nya A Thya Num Kap Makhan Chya-nya-Nya Go Do Thaya Bo yong Chya-nya-Nya

Ifyou cannot cut the bamboo or walk on it Shall I do it for you ? Ifthe black fowl cannot hatch Shall I do it for you? Ifyou cannot wear coarse and heavy cloth Shall I do it for you ? ITyou cannot prepare 'Chee' (Liquor) Shall I do it for you ? Ifyou cannot move the wooden block Shall I do it for you ? Ifyou cannot sleep on the wooden block Shall I do it for you ? Ifyou cannot wear a woollen blanket Shall I wear it for you ?

In West Bengal the Totos are a very small-possibly the smallest Schedu- SANGEET NATAK 26 led Tribe. A recent survey estimates their population to be 482 (Das : 1969 : 37). All of them live in one place - a village - known as Totopara in the Madarihat Police Station of the District of Jalpaiguri. Their main occupation is agriculture. But in olden days orange trade was the main source of their livelihood. Even at present orange trade plays an important role in their economic life (Op' Cit. : 60). They come in close contact with the Nepalese and the Meches, who are their neighbours. They consider themselves Hindus and regard Ispha or Sanja as their high deity «Op. Cit: 97) and worship Mahakal and Mahakali. 'Mahakalia is represented by two drums installed in their temple' (Sanyal : 1967 : 83). Some ofthe important festivals observed by the Totos are Omchu or Ongchu (Kaoni ), Mayu (Orange worship), Munkanin, Sarode, Garam Puja Fagua, Mahakal and Mahakali Puja etc. The Toto songs may be of two types - secular and sacred. 'Secular songs are generally sung by elderly persons during different agricultural operations' while 'the sacred songs are sung during different festivals, only with the performance of prescribed rituals.' These are revealed to different persons in dreams. They are known as Leti-Gehua. Each Leti-Gehua. has his own patent of songs, which cannot be sung without his participation. The motifs ofthe songs are, however, more or less common. In these the Sun, the Moon and the Stars are invoked to continue their celestial existence and their benign gaze for the welfare of the Totos. Bushes and cranes are requested to desert the land of the Toto so that they may live in peace' (Das : 1969 : 99). Though the Totos sing songs, they are not fond of singing. 'Unlike the hill tribes in general, the Totos enjoy songs very little' (Sanyal : 1967 : 84). This is definitely a very interesting fact. Seldom does one come across a Toto singing a song. On one occasion when I visited Totopara, only a few Toto boys and girls attended that organised meeting to sing their own songs. Sometimes, even a marriage ends without so much as even the note ofa song. Whatever songs they have, most of them revolve round the various ceremonies they celebrate. During Mahakali Puja, which is their most important festival and celebrated in the month of Bhadra (August-September) they sing

Mahakali Do Ko Gai Gai Tara Mara Do Ko LupuPaPo Gole Be Rll DoKo Chonje Mahakali you are great We bow down to you You are all powerful Be pleased with us Take our meagre offerings And bestow your blessings 011 us, 27 FOLK-SONGS OF TRIBAL WEST BENGAL

Through a variety of such songs they pay their homage to the deity Mahakali or Ispha, because they consider her as the highest deity. She protects them from various calamities, miseries, poverty and diseases.

As I have said earlier, the Totos also sing songs during different agricul­ tural activities. But usually these songs are sung during some such festival as may be connected with some agricultural operation. Along with the ritual they sing,

Saijing Zalma Sangjo To"-" Zado Jpaide Iuma Ichung, fpaido.,-Kegago Iuma Chung Kezago Ima Dajjong Zaimu Laizugo Chum be Ninghe Tajj~kl( Nada Zai Pu Laimo Tengka Leizdga " ·'o'_ ..j This day we are again going to sow The Millet (Kaon) Our little sprouting Kaon children (plants) Arc all dead (due to drought) Oh, gracious sky Be pleased to give us some rain So that our little Kaon plants May come back to life.

Better sowing brings better harvest. They pray to their deities to give them bumper crops. This will ease their economic troubles.

The Totos live in a lone village. They are not found in any other place. There they grow up from their very birth and there they die. They have a very narrow and closed universe. In this small universe, the brother and sister grow up from the stem of childhood to boyhood, from boyhood to adulthood and thence reach old age. So they develop a very close and intimate relation­ ship among themselves. Even after the marriage of the sister, the intensity of this relationship does not diminish, as after marriage the sister lives in the same village. To commemorate this relationship they observe Kale Sura festival. This festival is similar to the Bhai Tika ceremony of the Nepalese and the Bhatrzdwitiya ceremony of the Bengalees (Sanyal : 1967 : 85). During this ceremony the Toto girl sprinkle unboiled rice on the god Ka Ie Suro and then on the face of their brother when they sing,

Taro Mora Kale Sura SaizaDand Jshma Phaizi Champi Taro Mora Chachro Pachoi SANGEET NATAK 28

All powerful god Kale Suro Take our greetings We sprinkle this holy rice On you, the powerful, and On our brothers, Be pleased with us.

One peculiarity of the Totos is that usually they 'do not aIlow any non-Toto to hear the song (song sung during Maha Kali or Ishpa Puja) nor do they allow any non-Toto to know the correct sense ofthe song. Ifasked, they give a perverted meaning so that nobody gets interested in the song' (Sanyal : 1955 : 96).

In West Bengal the Rabhas number 6,053 according to the 1961 Census, and they are mainly concentrated in the districts of Jalpaiguri (4,132) and Cooch Behar (1,608). In theJalpaiguri districtthey mainly inhabittheKalchini, Alipurduar and Kumargram Police Stations whereas in the Coach Behar dist­ rict they are located in the Police Station.

Ecologically the Rabhas ofthis State can be divisible into two groups ­ those who live in the forest Bastees situated within or on the outskirts of the Reserve Forests and secondly those who inhabit the villages (Das & Raha 1967 : Introduction; Raha : 1970 : 2 Raha: 1973) The Rabhas of this State are predominantly agriculturists. Though the forest-dwelling Rabhas are employed by the Forest Department of the Government of West Bengal as labourers to perform plantation work, they engage themselves in the culti­ vation of the land given to them by the Forest Department in exchange for their labour. The village dwellers, on the other hand, are agriculturists and agricultural labourers mainly. They declarethemselves to be Hindus and have several festivals connected with various economic pursuits like agriculture, hunting etc., life-cycle activities and various other aspects of life. They also perform various rituals in order to get rid of the various evil spirits who cause harm by disease, flood, destruction of crops and domestic animals etc. With all these festivals are connected different types of songs. Besides, they have a love of songs, nature songs and various other types of songs. At the beginning of any ritual they pay homage to the Almighty.

He' Aaoa Iswar Jagat Tangam Noung Jagat Rajya Hasanichang Toa Nangmoun Jaonyanlaoa Uyon Pelem Ninga Pap Kamang Soun Taliyan Agyenni Soun Ta Sayan Jambo Boko SOlin 29 FOLK-SOVGS OF TRTBAL WEST BENGAL

Oh God, Oh Father, You are almighty In this Universe You are the only one who blesses us With mercy, affection etc. These fill our heart With divine sacredness You show us the right path, Oh Father, restrain us from doing any sin. Help us not to become ignorant.

The Rabha love songs are also famous for the emotion they contain. Sometimes the young hearts cannot check their emotion, and th-ii feelings come out of their heart spontaneously.

Sairga Lou Lou Puniang Uman Baka Tia Okoi Nu Aang Na NaNa Pa Taka Rungtam Pia.

Through the blue sky Flies the green coloured parrot Oh my lover, I shall purchase You with sixty rupees.

Some song text translations are given,

Their green heart knows no bound. It wants to move here and there, in the sky or in the meadows, in the loneliness of the forests or in the murmurs of the rivers and springs. It will have to find out its own man, whom it saw once a while.

Where have you gone Oh my Prince ? I am suffering for you since I saw you last. I went to the hills

J went to the forest But I did not find you SANGEET NATAK 3()

I asked the spring I asked the deer But I could not trace you.

How long would she wait ? When will her lover come? Months pass by, days pass by and one line morning she hears the knock in her door. She opens it after some hesitation and finds him, and hears the very familiar voice.

Oh my girl, I went to a distant place To bring presents for you I have brought a necklace of beads I have brought bangles ofcoloured glass I have brought a beautiful red Saree. I have brought all these For the sake of your love.

In the districts ofJalpaiguri and Coach Behar, the Village Rabha culture is identical with the Rajbansi culture of that area. Most of their festivals arc similar to those of the Rajbansis. The Gorakhnath Puja is such a festival It is performed by both the Rajbansis and the Rabhas. The preliminaries of this festival stat t after the harvest in the month of POliS (Dec. - Jan) when batches of young boys go out in the village for collection of food stuffs and money which will be utilised during the actual puja. During this time these boys sing songs of Goraknath (Paul : 1972 : 1105). The actual puja takes place on the last day of the month of POliS (Dec. - Jan.) These songs are also sung at the time of the puja. Though most of these songs are doggerel verse type, yet they depict the diversified pattern of their society. The following song is sling at the time of collection,

Ram Balare Hari Bala Chatru Pashe Kanch Kela Kanch Kelare Bara Bara Pir Chalat Kumra Ghira Ghir Hok Kor Kumrar Thium Pur Hath' Shunre Tule Pani Shukkan Kad Tana Tani Shuklcan Kad Geik Roya Macha Pat Dhan Thora AfachaJ' Na Dhare Dlran Gorakhnathe Karo Dan, 31 FOLK-SONGS OF TRfBAL WEST BENGAL

Take the name of Rama, Take the name of Hari The green bananas are scattered all over Big plantain trees are there Many cucumbers are on the roof The elephant is sprinkling water The dry land has become muddy In this muddy land We shall transplant The paddy kept on the platform But the platform cannot accommodate so much paddy So, donate it to the puja of Gorakhnath.

In another interesting song, one of the boys acts as a land-owner (Giri) while the other as his wife. The conversation between them goes something like this, .

Gid Hal Bad Jang Mui Panta Dharia Jais Tui Bou Panta Dharia Jang Tui Panta Dharia Na Jang Mui Giri Panta Dharia Na Jab Tui Penti Dharia Dangaim Mui Bou Penti Dharia Dangab Tui Baper Bari Jaim Mui Giri Baper Bad Jab Tui Pithi Karia Anim Mui Bou Pithi Karia Anib Tui Pith Bharia Hasim Mui

Land-owner I am going to the field You bring the stale riee Wifc YOll go with the stale rice I shall not be able to go with the stale rice. Land-owner If you do not come with the stale rice I shall beat you with a stick Wife If you beat me with the stick I shall go to my father's house Land-owner If you go to you father's house I shall bring you on my back Wife If you bring me on your back I shall laugh to my heart's content.

Another interesting folk song sung by the Rabhas is the Bhaoyaiya song. This is a typical song of the whole of the northern part of Bengal. This type of son~ reflects various affairs of the people. The Bhaoyaiya songs are of three SANGEET NATAK 32 types (1) Shantibaromasi, (2) Chatka and (3) Deha-Tatwa (Biswas: 1968 : 33). Through many of these songs the troubles and miseries, the poverty and depression from which the house-wife suffers, are depicted. These songs clearly depict their agony and sorrows.

Takhne Na Kachhis Tui Re Mota Kapar Pidina Saru Kapar Lyakhai Jokhi Nai Bari Ashia Dekhang Mui Chaturali Karlu Tui Gharat Heena Tar Phara Tenai Nai.

Did you not say that time 'Do not wear coarse cloth' But you did not give me fine cloth On my return home I came to see The trick played by you I am still in the torn doth.

Though the Deha-Tatwa songs are mostly sung.by a section ofa people of known as the Baistom-Baudiyas (Raha & Paul : 1973 : 106), the Rabhas and the Rajbansis are also found to sing these songs. These songs illustrate 'the way of accomplishment in life. They also express the morality and transitoriness of human life, the miseries suffered by the human being, the narrowness of human desire, passion and other earthly activities.' (Op. Cit. : 107). One will easily realise the philosophy behind these songs.

Guru Bine Bhabanadi Ke Karaibe Par Guru Mar Gosainya Re Ek Guru Hailen Mal' Dandadhari Ar Ek Guru Na'r Kandari Ar Ek Guru Mar Jai Jora Baitha BaiyaRe

Chakshu Duiti Mar Swarger Tara Pad Duiti Mar Rather Ghora Hasta Duita Mar Sabar Aage Dhaye Re.

Who would help me in crossing This river-like world Except my master? My master is the Gosain One ofmy masters is the king 33 FOLK-SONGS OF TR1BAL WEST BENGAL

The other one is the pilot of the voyage oflife The third rows with a pair of oars.

These two eyes of mine are the stars ofthe heaven These two legs are like the horses ofthe chariot My hands move faster than anything

The song clearly expresses one's submission and devotion to one's Guru (master). Who can pilot the voyage of life except the Guru? He is the man who teaches one how to get free from the miseries of life. The other song also depicts a philosophy of life

o Man Mar Rasana Re Bara Bari Man Bara Ghar Keno Kara Mon Ahangkar OMan Rasana Re

Oh desire of my mind Why do you seek a big house, big room? My mind why are you proud ? Oh desire of my mind.

The human mind always yearns for worldly happiness. It always hankers after material treasures and temporal possessions like money, house etc. But these never last long. These never accompany one after death. Such a mind becomes a burden. Such a mind causes trouble.

Man Ke Niya Thekilam Bisam Daye o Hailo Na Mon Kathar Badhya Je Hai o Amar Sadhan Kara Haifa Na o Amar Kara Haifa Na Man Ke Niya.." ..

J have been put to great trouble My mind is not obedient to my words J could not contemplate, I could not sing the hymn.

The other typical song, the Rabhas used to sing along with the Rajbansis, is Chor-Chunnir Gan or the 'Songs of the Thieves.' At present these songs are fast disappearing, and are confined to a few people only, who are mostly Rajbansis, These songs are sung during Kalipuja (Worship of Goddess Kali) in the month of Karlik (October-November). Generally these songs are sung SANG££T NATAK 34 by a group of people, and they start singing these a few days before the puja. The party which sings these songs, is known as Gidal The chief singer or any of his associate singers becomes the Char (thief) and another one dresses as a female and acts as Chunn; (wife of the thief), and they play the main roles in the pata (musical-drama) while some others act as supporter-players. (Raha & Paul: 1967 : 86-87). These songs have not much religious or moral theme but 'unveil to a great extent, the social and economic conditions of a class of people, the thieves, who have been condern­ ned by society for their activities.' (Op. Cit, : 87).

Thieves are considered as contemptuous human beings in society. They are always looked down upon with suspicion and contempt. They earn curses, abuses and hatred from the people. No one believes them, helps them in their dangers or consoles them in their distress. They have none but each other with whom they can share their OW11 happiness and joys, and bear their sorrows and miseries. They know their profession is a vile one for which they are bereft of all social privileges. They sometimes feel this as a burden Ai Mok Dilen Ki Dekhi Mar Kapale Milil Chora Swami Eki Chora Jachhe Churi Karir Mol' Nagchhe Jigir Jigir Kemne Pohai .MuT Andhar Ali Ekla Ghare Sandheya Ai Kandiya Mui Bichhana Bhijai E Janam Afar Byathai Geil Hanu Chorer Nari.

Alas! My mother has given me in marriage, Illy luck has begotten me a thief to be a husband My husband is going to steal I tremble with fear How would [ spend this dreadful night? Entering into the lonely room, I drench my bed with tears My life has been spoiled (As) I am the wife of a thief.

But they steal in order to survive as society cannot provide them with the means of livelihood and to allow them to lead a normal, gentle life. Their adverse economic and social conditions have compelled them to choose this profession for their mere existence. They have to steal because they cannot s~arve and die. So sometimes Chunni encourages the Char. The cold days have come You are going to steal, chora Take my black Sari (so that no one can see you) 35 FOLK-SONGS OF TRIBAL WEST BENGAL

Leave the wrapper. Please bring a coloured Sari (for me) with a broad border I shall go to my brother wearing it during the harvest. I shall wash it with soap if it becomes dirty Also bring a trunk of any colour, black or yellow I shall keep my belongings in it.

The thief is pleased with his wife. He assures her:

Chunni, I am going to Alipurduar to steal. So quickly, prepare my meal In the darkness of the new-moon night My companions are all assembled Today [ shall bring many things, gold ornaments If there is no danger written in my fate I shall put ornaments on your feet.

The Tribals of Central Zone In West Bengal the Bhumij population was 91,289 according to the 1961 Census, and they constitute 4.44%of the total Scheduled Tribe population of West Bengal. They are mainly found in the districts of Purulia (38,693), Midnapur (27,119) and 24 Parganas (12,240). They are mostly agriculturists and consider themselves Hindus. A number of socio-religious ceremonies adorn their social set-up, and during these ceremonies they sing various songs. Like the Mahato or Kurmi, the Majhi or the Deshwali, the Santal, and other ethnic groups of this district, they also sing Jhumur, TUSll, and many other songs. In general the themes of the Jhumur songs are always the celestial love of and . These songs beautifully express the love of Lord Krishna and Radha, as depicted in the Hindu religious books.

What to do my friend ? My heart is restless Look, the night is over Why did not my beloved come?

I have decorated the garden Waiting to welcome Shyarn I have spread my bed with flowers from morning to evening,

With vermilion on the forehead And face like full moon SANGEET NATAK 36

He has caused so much pain in my heart Why did not my beloved come?

Nandalalkishore (the poet) says Was this my fate? The Lord did not fulfil my desire Why did not my beloved come?

Jhumur is considered as one ofthe oldest and very important folk-songs. The tribal people of the whole of the Central Zone, particularly those of the Purulia district, have a great fancy for these songs. Chunhaki Chunhaki Nind Tutali Sakhi, Shyam Na Anali Dulio Asher Anshe Nishi Bhor, Na Awali Piya Mor Ragadi Chandan Chunha Shukali Sakhi, Shyam Na Awali,

I start in my sleep I awake and I weep Friend, my Shyam has not come The night of Ashar is over, But my lover has not come. With sandal I have perfumed myself But my friend, Shyam has not come.

A large number of Jhumur songs illustrate the love affairs of Lord Krishna and Radha. But this type of song also has other themes. According to Sinha it is a part ofthe fertility cult (Sinha: 1967 : 35). o Amar Bhanga Ghare Ke Mare Bantul o Amar Pok Pokiye Ure Gelo Kunkda Katu/

Who throws stones through the sling At my broken house Moaning in deep pain My cuckoo flies away.

The two other important folk-songs of this region are Tusu and Bhadu. As r shall discuss Tusu in the Southern Zone, only Bhadu songs are discussed here. According to Sinha, Bhadu songs have a point ofinterest and that is the 'embodiment oferotic imagery.' He also says that this type of song expresses 'the longing, joy, struggle and sorrow of all sections of society' (Op. Cit.: 36, 37). 37 FOLK-SONGS OF TRIBAL WEST BENGAL

The marriage songs among the Bhumij ofPurulia are also quite interesting. These songs are sung by the women folk of both the bride's and the groom's sides. Aj Biha Kal Biha Kabe Babur Biha Go Babur Masi Ghare Nai Gua Palya Go

Today Babu will marry Tomorrow Babu will marry When is Babu's wedding? Babu's Masi (maternal aunt) is not in the House How will the betel be given ?

After marriage the daughter goes to the house of her husband. It is defi­ nitely a very sad occasion for the parents.

Nunuke Pusechhili Kancha Dudh Sare Go Aj Nunu Chafe Gelo Ajike Kandaye.

You brought Nunu up With milk and butter Today Nunu has gone to (her husband's house) Making her grandmother weep.

Another important festival is Karam. The Karam festival is celebrated throughout the district of Manbhum on the eleventh day of Bhado (Augut­ September). The festival is celbrated in families which have been blessed with an offspring of man or beast, on this sacred day (Sinha: 1957). During this festival the married women usually go to their parental house. The local saying is that 'while Dharam festival is for the welfare of the husband, Karam festival is for the welfare of the brothers.' On the whole, the festival seemsto uncleat round three major themes: married girls expressing sentiment­ al ties with the parental family, as against husband's relations; fertility of women and fertility of crops' (Sinha: Op. Cit.). Such are the feelings eluci­ dated in songs, some of which are translated,

By the side of the hillock Who walks with such graceful strides 'l It must be my brother. With silver bangles on both wrists And a bead necklace around the neck This must be my brother, * '" * * 38 SANGEET NATAK

My tather-in-law's house is in the maize Held Don't ask me to go there Then I will plunge into the flowing river I am going to plunge into it.

She expresses here strong attachment to her father's home and. her relati~es, and her sentiments are voiced through songs, such as the following translation would reveal.

As the Kasi flower blooms r looked forward to my father's village There comes my brother With graceful steps.

Her resentment is not against her parents-in-law or other in-laws. She is 'annoyed as she has an old man for a groom.

I had to go with myoid husband Oil the road to Bankura People asked me who he was In my shame I said, 'Grandfather'.

The tribals all over have strong sentiments of attachment to their village. The tribals of this zone are no exception,

People ofour village are good Wind blows hot here Rain God gives much rain Mother earth, give us more crops.

In West Bengal the Santals number over 12,00,000 forming 58.42% of the total Scheduled Tribe population ofthe State. Their main concentration is in the districts of Midnapur (233,789), Purulia (176,899), Burdwan (154,657), Bankura (152,254), West Kinajpur (122,292), Birbhurn (93,426), MaIda (84,207) and Hoogly (73,781). They are predominantly agriculturists and also good hunters, though the latter type of occupation has been reduced from a source of livelihood to a ceremonial rite only.

The Santals have several festivals. Various types of songs are connected with these festivals. Besides, they have other different types ofsongs which are not connected with any such festivity. Regarding the Santal folk-son~s Culshaw writes, 'A large number of the songs are spontaneous in compOSi- tion and therefore ephemeral most of the songs are classified according to the rhythm of the type of dance or dance-cycle with which they are associated New and topical songs are continuously bcing composed to give poetic expression to the new experiences of the group.' 39 FOLK-SONGS OF TRIBAL WEST BENGAL

(1946 : 66). Not only current events are kept in mind by 1hc Sanrals, they always remember past incidents, their originality and express the same through these songs.' (Raha : 1967 : 59).

The Santal folksongs may be divided into three major groups. These groups are (I) Songs with dance (2) Lesser tunes and (3) Songs without dance. In Group-1 i.e., 'Songs with dance' nine principal varieties may be included. These are Lagre, Pata (Dharua Seren), DOll, Sohrae, Daliar, Baha, Karam and Bir, In Group 2 - i.e., 'Lesser tunes' there are five principal varieties which are Golwari Dania, Matwar, Ganjar (Ghor Rinja) and Humti. Group 3 or 'Songs without dance' include three maintypes and some minor types also. The main types are Bapla, Binti and Gam Semi tKahni Seren) while the minor types are Jharni, Manter, Hero Rohoe (Herchet Raha) and Morna Seren (Rak Seren). (Bhattacharya: 1962 : 54-61 ; Raha : 1967 : 60). Through all these types of songs the Santals express their feelings - their feelings towards their own family members, towards their broader kin-group, towards the members of their society, towards the inhabitants of their village and further broader regions. These songs also depict their sentiments toward different aspects of their life.

When youth blossoms in the Santal hearts, they feel a wonderful in­ describable sensation which they cannot narrate to others easily. But they paint this feeling through the songs of their heart,

Likir Likir Tumdah Rug Bagin Mese Hapan Bapu Bahu Babui Birashali Aa Dur Shali Hachay Hili Birashali Bahu Likir Likir Tunulah Rug Bayen Bagia

You two girl companions­ How did you grow up ? By eating Bael fruits in the day time By breaking open Kend fruits at night And drinking water from the mountain In this manner did we grow up. (Don)

The feelings gradually ripen into love. His mind hankers after the Jove of a girl who has stolen his heart.

The young girl in our village She has a body as bright as the sun She has got luxuriant lips When she smiles SANGEET NATAK 40

Oh, it is just like a star twinkling My life is blown away like a leafin a storm. (Don)

The young heart of the girl feels the warmth of the love ofthe boy. She cannot help responding to the call of the boy and open her heart to him.

Har Khanad Fiell Red Tingun Meshe Eha Mairi Sedai Reyah Kathyan Kuli Me Har Khanad Fich Red Bayanch Tingun Eha Mairi Sange Rege Juri Menaya

You are my life, Jiban I am your life, Jiban Our lives have been found together, Jiban As leaves never fall from the date palm tree So I am not going to relinquish your mind We should support each other through ages. (Lagre)

As the Santals see life through love, marriage and family they also see the end of life in a similar way. To them life has got a specific meaning as also death. A Santal sees death in the following way _

We shall eat, drink and make ourselves merry This body, this lump ofearth will not stay on Life slides along Like water on an arum leaf This body, this lump ofearth will not stay on. (Lagrc) **** Saoa Dhartire Hasa Harmare Landai Lekage Jiewi Menah Naoya Jiewi Da Shishir Dah Leka Aka Disham Chang Atang Chalah

In this world Within this body ofclay Life clings and laughs This life Like a morning dew drop Nobody knows Where it vanishes. (Don) 41 FOLK-SONGS OF TRIBAL WEST BENGAL

In the year 1855 when rebellion (Hul) broke out amongst the Santals against the British rule because of the injustice and tortures they suffered at the hands of the British adminstration, the Santals expressed their senti­ ments - their wrath and hatred, through some songs,

Saheb rule is full oftrouble Shall we go or shall we stay? Eating, drinking, clothing For everything we are in trouble Shall we go or shall we stay?

Sido, why are you bathed in blood Kunhu, why do you cry, Hul Hul For our people we are bathed in blood For the trader thieves Have robbed us ofour land. (Lagre)

The above songs clearly depict the strong sentiment of the Santals against British oppressions. Thousands of Santals from Bihar and Bengal with their meagre bows and arrows challenged and fought with great courage against the mighty British soldiers equipped with fire-arms.

Tribals of Southern Zone When a group of people migrates to a new place and settles there 'it gradually imbibes (local) values and traditions which on the other hand, slowly replace their original traditional beliefs, customs etc. This process further accelerates if the migrant group breaks off connection with its parent stock living in their original habitat' (Das & Raha : 1963 : Viii) This state of change holds good for the Oraons and the Mundas of the Sunderban also. These people came to Sunderban, the southern part of the district of 24 Parganas of West Bengal as labourers about a century ago in order to reclaim the famous Sunderban forests. (Op. Cit. : 17; Choudhuri : 1963 : 28). Gradual­ ly they settled in different parts of this area in the midst of the dominant Hindu caste people. As this area was semi-isolated a century ago and far off from their cradle-land, they lost the link with their ancestral home. Their contact with the dominant castegroups and their aspiration to be included into the Hindu fold, which developed at a later phase, forced them to borrowcultural traits from the local Hindus. As a result the present-day culture of these tribal people of the Sunderban reflects the essence of Hindu culture to a high degree (Choudhuri : 1962 : 40-41; Raha : 1964b : 361-368). Along with the change of different aspects of their culture, the language of their folk songs has also changed. They have given up their Kurukh dialect and instead have taken Sadri or Sadani and Bengali as their dialects. This is clearly revealed in the analysis of the songs depicted hereafter.

During the Karam festival, the married Oraon or Munda girl, who is at SANGEET NATAK 42

her husband's home, becomes eager to go to her parent's home. Like the Bhumij or the Sanral they also develop the same feelings which are expressed in the following songs,

Parilo Bhadro Mas Lagila Nahi-ara Ash Ratidin Keho Na Dekhay Mol' Prall Jaya Bhador Chalila Shiraya

The month of Bhadro has come I have no other desire But to see my parents I see no body by day or night I am getting tired The month of Bhadro is passing away.

:;: * ::~.*

Today came Karam And was grand in the stream Karam, to-morrow you wiII go To the banks of the Ganges.

* * **

For a long time I have not seen my brother, My mother and father, My heart aches for them The Karam has come The karam has Come I can see them now.

During the Karam festival, Jhutnur songs are also sung to quite a great extent. And, like the tribals of Purulia district, they also describe the love of Lord Krishna and Radha. The Jhumur songs express deep sentiments towards Lord Krishna and Radha.

Pyar Naile Hriday Jwale Go (Amar) Radha Naile Hriday Jwale A] Bachhia Kusum Tulia Balle Na Bujhin Mala Ganthili Kene Aj Champak Baran Badhan Binodini Uday Hala Champak Fill Go (Amar) Radha Naile Hriday .!lmle Go 43 FOLK-SONGS OF TRIBAL WEST BENGAL

My heart burns without love My heart is parched without Radha Why have you made a garland With flowers chosen from the garden? I imagine champaka like Binodini Has appeared within the Champaka flower My heart aches without Radha.

One of the most important folk songs of the tribals of the Sunderban area is Tusu songs. Ofcourse, TliSU songs are also sung by the tribals of SOme other districts of West Bengal such as Purulia, Midnapur, Bankura and Bhirbhum along with the caste people of those areas. The TliSU festival takes place on the last day of the month of POliS (January) among the tribals of Sunderban, (Das & Raha : 1963 : 321 ; Raha : 1967 : 74). During this festival Lakshmi, the Goncess of wealth, is worshipped. This is essentially a feminine festival performed by the women folk only. During this festival the women sing Tusu songs. 'These Tusu songs, containing elements ofjoy and pensive­ ness, display a keynote expressing a mixed outburst of satiety and discontent. The Tusu is regarded as their own people; as a daughter, through songs about her, they try to express the sorrows and joys oftheir own life and activities.' (Das & Raha : 1963 : 323). In connection with Tusu songs Sinha writes, 'In Tushu there are two points of interest, both related to fertility. Firstly it is a pleading to the earth for copious corn, the other, the embodiment of erotic imagery, ...... The Tushu does not sing out ofjoy, nor is there in it any scope for instrumental accompaniment like strings or drums, and there is no room for dancing. Its melody is a plaintive melody' (1967 : 36). But in the Sunderban sometimes instrumental music accompanies Tusu songs.

With day break the festival starts with homage paid to the deity. Ogo Tusu Moni Nomi Ami, Ranga Charan Dukhani

Oh Goddess Tusu We bow at your beautifully coloured feet.

The tribals of Sunderban, like their compatriots of other areas, always lead a poverty sticken life. Tusu being the member of their family, grows up gradually through poverty and misery. Tusu Moder Gharer Meye Rater'Kase Chand Go TUSll Nache Tusu Gaye Tusu Bhulay Prall Go

Tusu is the daughter ofour home Like the moon in the sky at night SNGEET NATAK

Tusu dances, Tusu giggles Tusu makes us forget our miseries.

But still they cannot keep themselves away from harsh reality. Their poverty brings limitless distress. Due to want of money they get only a strip ofcloth, for much the same reason, they are unable to repair their dilapi­ dated houses.

Barsa Elo Badal Elo Bhanga Ghar Sarlam Na Jharjharia Jal Parilo Bhijlo Tusur Bichhana

Rain has come, storm has come I am unable to repair the broken house Water oozed down the roof And drenched the bed ofTusu

Inspite of such travail Iaiden conditions, Tusu grows up. Her parents send her to school, where she is educated. They advise her,

Read and write carefully, Tusu You will go to Basirhat At Basirhat You wiII be in a big school (i.e, college) You wiII read there.

But before the accomplishment of her educational career, Tusu reaches adulthood. Her blooming youth blossoms into an excitement, whereby she yearns to drink the new ecstacy of life.

Am Gachhete Bol Dharechhe Gandhe Bastas Bharilo Sanjher Bela Kokil Dake (Tusu) Mane Rang Dharilo,

The mango tree is full offlowers The wind is heavy with the smell In the evening as the Cuckoo cooes (sings) The heart of Tusu is besmeared with the colour (of love)

Seeing Tusu quite grown up, her parents think of her marriage.

To-day Tusu will dress her best (As) Tusu will marrytomorrow 45 FOLK-SOSGS OF TRlllAL WEST BENGAL

Tusu's husband will come in a palanquin With a golden crown on his head

After marriage TUSli goes to her husband's house There she starts living like a good housewife.

Moder Tusu Kapar Kache Shankha Jhalmal Kare Go Tadcr TUSli Dekhe Bale Kon Gerasther Meye Go

Our Tusu washes clothes Her bangles of shell are shining Seeing this your Tusu says who is this housewife ?

* * * *

Perform the religious services of the evening, Tusu As you are the virtuous wife of the household Tusu, why have you not performed the evening services? Do the same and then you can go out.

But the mind of Tusu is very heavy, Her heart is full of pain. A few years of married life have passed, but she could not have a child. Her mother-in-law is very angry with her. She suspects that TliSU is ba.ren. Tusu is also angry and she inflicts her anger on the children of the other people. Her mother-in­ law rebukes her,

Chhele Chhele Karis Tusu Ar ta Chhele Hahe ? Parer Chhele Dhare Mara Chheler Bedan lana Na

Tusu, you hanker after a child But can you have one? You always beat other's children You do not realise the sorrowful plight of a child.

Inrhis way thetribals of Sunderban sing TUSH songs which mostly concern. their own life and activities, . . SANGEET NATAK 46

Besides Tusu, various other types of folk songs are composed and sung by the Oraons and the Mundas of this area. Domkaclt is a type of song sung by the Mundas.

C/zlzota Bltaike Barat Gcli Bara Blzaike Bilza Re Biha Bajna Bc!io To Mon Sisa Lage

The Sabid songs of the Oraons are sung during the funeral ceremony. One such song runs like this -

Kanhaiyalal does not return home His mother sits on the floor His father burns the lamp The lamp is made of silver Its wicks are of gold He tries to light the entire universe Thus sings Sibnarayan Guruji.

Love-lore and marriage songs also play an important part in the folk­ songs of the Sunderban, Particularly the love songs are very attractive to the youngsters.

The rain has come My house is empty How shall I spend the rainy days My love, without you?

As the wedding bells ring - ding-dong, ding-dong, they sing,

Mago Ma Nadir Dhare Kiser Bajna Bajichhe ? Rajar Beta Billa Rarita Asichhe Tari Bajna Bijichhe

Mother, what is that music by the river side? The prince is coming to marry The music of the wedding party is heard.

Summing-lip

From the above analytical discussion of the folk-songs of the tribals of West Bengal. it may be said that they are a .mixed expressions of tradition combined with regional influence, By regional influence, [ mean, the influence '- - - - . 47 FOLK-SONGS OF TRIBAL WEST BENGAL

of the dominant caste groups of the area. So we do see in the folk-songs of the Lepcha and the Toto the influence of the Nepalese or in the same way that of the Rabhas, the Rajbansis. In the other two zones also the influence of the local Hindu castes is quite significant. This is partially responsible for the degeneration of their traditional song and music. The process of gradual disintegration of tribal music has further been accelerated by urbanisation, industrialisation, easy communications and lately the radio and the movie industries. As a result such interesting assets of the Lepchas, like their folk­ songs, dance, dramas etc., are fast deteriorating and would before long be irretrievably lost (Das & Banerjee: 1962 : 127). The Toto youths are fast forgetting their songs; the young Rabha generations prefer to sing modern songs to their traditional ones; the dormitory, the centre for the songs and music of the Oraons is no longer present in the Sundcrban, and this has further accentuated the decay. Another interesting feature is the change in the nature of certain folk-songs during certain occasions. During the elections or for the campaign of family planning now songs like Tusu, JIJUI1t!il', Bhadu etc. are used. This certainly distorts their cultural values and ends in dishonour and decay of such. So, before it is too late, if proper and encouraging steps are not taken to revive this cultural asset of the tribals, the day will come when a researcher wiII have to dig in order to find the past relics of the folk-songs of the tribals of West Bengal.

REFERENCES

Archer, M. 1942 Folk Poems - Nine Oraon Poems for Sarhul Festival, Man-in-India, Vol. 22. Archer, W.G. 1942 Fourteen Oraon Marriage Poems, Man-in-India, Vol. 22. 1943 Twenty Oraon Pcems of the Ranchi District, Man-in-India, Vol. 23. 1944 The Santa! Sohrae, Alan-in-India, Vol. XXIV, No.2. 1944 More Santal Songs, Man-in-India, Vol. XXIV, No.3. 1945 The Forcible Marriage, Man-in-India, Vol. XXV, No.1. 1946 Santal Transplantation Songs, Man-in-India, Vol. XXVI, No. 1 Archer, W.G. and W.I. 1945 Santal Rebellion Songs, Man-in-India, Vol. XXV, Culshaw No.4. Barua, H. 1963 The Folksongs of India, New Delhi. Bhattacharyya, S.S. 1962 Santal Songs : Different Types, Bulletin of C.R.!. Vol. I, No.2. 1964 Woodland Verses, Bulletin of C.R.!. Vol. 3, No. 3 & 4. Biswars, P. 1968 Uttar Banglar Bhaoyaiya Gan (in Bengali) Smaranika, Vol. I, Special Issue. Bodding, P.O. 1925 Santal Folk Tales, Vol. I, II & III. Bose, S.I\. 1967 Songs of Bengal (in and Folklore; An Anthrology, Ed: H. Biswas), SANGEET NATAK 48

Chakravarty, S. 1969 Lokayata Bangle (The Folklore ofBengal) in Bengali, • Calcutta. Choudhury, N.C. 1962 An aspect of Contemporary Munda Religion in Sunderban Area, Bulletin ofC.R.I. Vol. I No.2. 1963 Munda Settlement in Lower Bengal - A Study in Tribal Migration, Vol. 2, No.2. Culshaw, W.J. 1946 Santal Songs, Alan-in-India, Vol. XXVI. No. I D.ls, A.K. 1969 The Totos, Special Series No. 11 Das, A.K. and S.K. Banerjee. 1962 The Lepchas ofDarjeeling District, Special Series No.2, Calcutta. Das, AX., S.K. Banerjee 1963 Lepchader Loknritya Oraonder Lokgeeti (in and M.K. Raha Bengali), Lokayana, Vol-III, No. I. Das, A.K. and M.K. Raha 1963 The Oraons of Sunderban, Special Series No.3, Calcutta. 1966 The Rabhas of West Bengal, Special Series No.9, Calcutta. Das, A.K., B.K. Roy 1966 Hand Book on Scheduled Castes & Scheduled Tribes Chowdhuri & M.K. Raha of West Bengal. Special Series No.8, Calcutta. Das, Puma Chandra 1967 Some Aspects of Folksongs of Midnapur (in Folk Music and Folklore :: An Anthology, Ed : H. Biswas.) Ganguli, S.K. 1958 Munda and Oraon Folk Songs. Indian Folklore, Vol. 1. Hahn, F. 1905 Kurukh Folklore Mahapatra, P.K. 1967 Folk Songs : Problems of collecting and Editing (in Folk Music and Folklore :: An Anthology, Ed. - H. Biswas). Mukherjee, R. 1963 Malbhum Anchaler Bibaha - Sangit (in Bengali), Loka-Yana, Vol. III, No. 1. Mukherjee, S. 1969 Folklore of the Sunderban Tribes Bulletin of C.RJ., Vol. VIII, No. 1&2. Paul, S. 1972 Gorakh Thakurer Puja (in Bengali) Binidra, Vol -2, No. I-III. 1973 Gorakhnather Puja 0 Gan (in Bengali) Amrita, Vol. 12, No. 13. Paul, S & M.K. Raha 1969 Some Verses From Western Dual's, Human Events, Vol. III No. 7-8. Raha; M.K. 1964a Festivals of the Oraons of Sunderban, Folklore, Vol-V, No.2. 1964b Cultural Changes in Tribal Sunderbans, Modern Review, Vol. CXVI No.5. 1967 Folksongs of the Tribals of West Bengal : An Analytical study of Continuity and Change (in Folk Music and Folklore :: An Anthology Vol-I, Ed: H. Biswas). 1970 Social Organisation of the Rabha of Jalpaiguri District, unpublished Ph.D. dissertation. 1972 Paschim Bunger Rabha 0 Tader Samajer Dhara (in Bengali) Bulletin of the Academy of Folklore; Vol. I, No. 3 & 4. 1973 The Rabhas of Western Dual's: A Structural Analysis of a Changing Matrilineal Society, Bulletin of C.R.1. Vol. X, No.1 & 2. 49 FOLK-SONGS OF TRIBAL WEST BElI'GAL

Raha, M.K. & S. Paul 1967 Chor-Chournir Gan : A Typical Folk Song From Western Duars, Bulletin of C.R.I., Vol-VI, No. 3 & 4. Raha, M.K. and S. Paul 1973 Deha-Tatwa : Song of the Baistom Bandiyas of North Bengal, Folklore Vol. XIV, No.3. Sanyal, C. 1955 The Totos : A sub-Himalayan Tribe, Calcutta. 1967 The Totos : Their Life and Music (in Folk All/sic and Folklore: An Anthology, Vol. I, Ed.; H. Biswas). Sinha, M. 1967 Folk Songs ofSouth Radh (in Folk Music and Folk- lore. : An Anthology, V,,1. 1, Ed. : H. Biswas). Sen Gupta, S. (Ed.) 1963 Rain in Indian Life and Lore, Calcutta 1967 A Survey of Folklore Study in Bengal. 1969 Women in Indian Folklore, Calcutta. Sinha, S. 1957a The Media and Nature of Hindu-Bhumij Inter­ action, Journal of Asiatic Society of Bengal, Letters and Science Vol. XXIII, No. I. 1957b Expression of Sentiments in the Songs Associated with the Karam Festival of Rural Mabnhum (Bihar, India), Man-in-India, Vol. 37, No. 1. 1958 Change in the Cycle of Festival in a Bhumij Village, Journal of Social Research, Vol. 1, No. 1. Tagore, R. 1967H On Folk Music and Folklore : Excerpts (in Folk Music and Folklore: An Anthology, Vol. 1 Ed : H. Biswas.)

Dr 1>[ K. RAHA. M. s-. Ph. D. is a folk-lorist ofnote. lIe is at present working with the Anthropological Surrey of India at Dehradun, JHUMAR OF THE WEST BENGAL HIGHLANDS

Manik Lal Sinha

Jhumar originated as a type of fertility song of the tribal people usually sung as accompaniment to dance. The songs are rich in emotional depth and varied in range. Jhumur songs of the West Bengal Highlands in their rich variety strike us as a unique expression ofthe emotional life ofthe primitive tribes who inhabited this region and lived close to Nature. Geographical boundaries and the natural environment under which they lived conditioned their way oflife, determined their mood and influenced their songs which were natural and spontaneous in expression. The movement of their life was inseparably associated with the cyclic movement of seasons in Nature. In order to appreciate the beauty of Jhurnur songs and to study them in their proper perspective it is necessary to make an enquiry into the geographical characteristics and regional peculiarities of the land where such songs origina­ ted.

The entire districts of Purulia, the greater part of the districts ofBankura, Burdwan and the Western half of Midnapur of modern West Bengal, embrace a portion of the eastern fringe of the Chhota Nagpur plateau. It is the last step in the descent from the great elevated Highlands of Central India.

Chhota Nagpur plateau with its general elevation of 2000 ft to 2500 ft forms the intermediate stage.

This region ofgreat inequalities, consisting ofa succession of plateaux. hills and valleys, is drained by several large rivers, including the Mayurrakhce, Ajai, Damodar, Darahishwar, Kansai and Subarnarekha.

The plateau on the whole is rather open and there is a fair amount of cultivation. The terrain is well cultivated and densely peopled. The Santals occupy the broader valleys. On the higher valleys the Paharias (Hill-men) ~ultivate steep slopes. The general characteristics ofthese Highlands consists 51 JHUMAR OF THE WEST BENGAL HIGHLANDS

in great measure, of metamorphic rocks and spurs projected from the table­ land on the West and swelling ridges of laterite.

Towards the east i.e. within the boundary of these districts of West Bengal the metamorphic rocks thin out and the laterite ridges thicken, the undulations lesspronounced and the dips between the ridges being broader and more level; the country is more open and presents the appearance of a series of rolling downs, dotted here and there with isolated conical hills locally called dungris.

Towards the south, the Subarnarekha with lush valleys, low gullied terraces, fantastic cones and domes of gneiss, form the last border.

On the east of the Subarnarekha the plateau sinks gradually into the deltaic alluvium.

In the dry season, this vast region represents the general appearance of a barren waste. In the rains the prospect is very pleasing when the fresh green of the young rice plants shades off into the darker green of the grass which springs everywhere when the first shower falls and contrasts with the browns of the ripening crops on the Highlands and of the bare gravel ridges varied here and there by black masses of exposed rocks.

In the early hot season the jungle covered areas, whether on the hills or in the plains, present a brilliant spectacle; the red blossoms of the Palas(Butca­ frondosa) contrasting in a striking fashion with the fresh green of the new leaves.

In the rainy season the hill-fed streams and rivers suddenly swell and play havoc. Rivers are whimsical so also human nature. Family ties are un­ restrained and feelings unfettered.

This romantic region makes her people forlorn and with them, joy is forever mixed with sorrow, pleasure is blended with pain.

The people of this vast area.can be classed in four groups from the point of view of contacts with civilisation,

(a) the primitive tribes, outside Hindu society,

(b) tribes who have a degree of association with Hindu castes,

(c) tribes, that are Hinduised,

(d) the Hindu-settlers. Luuur] IAII!ET NATA)( AKADEtaI .", lWJd.ll(){)()] SANGEET NATAK 52

The first three groups sing their fertility folk songs specially Jhumar as locally named. The primitive Proro-Australoid settlers of Chhota Nagpur plateau, along with their 'Neolithic culture complex' composed Jhumar songs at the very dawn ofterrace cultivation. There are more than twenty types ofJhumar. The types are,

(1) Pata (2) Jhika (3) Raila (4) Lagrey (5) Jheta {6) Burihi (7) Thant (7) Galoari (7) Riuja (10) Matoari (11) Baha (12) Magha (13) Khatinach (14) Nachni nach (15) Tand (16) Dand (17) Saharja (18) Jhikadang (19) Bhaduria (20) Karam (21) Jharkhandja (22) Sadhu etc.

With the change ofseasons the Jhumar songs vary. Also there are zonal variations.

The tracts the tribal people inhabit are full of many attractions. They are picturesque with lofty green hills and daning water-falls rushing along the slopingprecipices and table-lands, gaping ravines and meandering hill-streams, lofty beds of rocks and thick jungles.

Such a countryside always makes people romantic and poetic. They reveal their emotions in their external behaviour, in their joys, dances and songs.

The tribal people ofthe Chhota Nagpur plateau and those ofWest Bengal Highlands compose Jhumar songs either in their own mother-tongue or in corrupt Bengali. Those who are Hinduised compose Jhumars in corrupt Bengali only.

Purely Tribal Jhumars are the best. They are the true representation, the reflection ofthe pure, simple and honest mind. But the Jhumars composed by the Hinduised clans and sects are but a reflection ofa reflection, the echo ofan echo.

The Munda speaking clans and tribes of West Bengal Highlands divided the year into three broad seasons Jeta-sa (Hot weather) Jargida (rainy season), Rabang-sa (cold season). The advent ofsummer is signalized by the blossom­ ing ofthe Sal (Shorea-robasta) and by the budding of the Mahua (Bassia-lati­ folia) and this is called Baha Chandu (flower month) from the fact that all nature springs into new life and flowers abound everywhere.

Duringthis seasonthe whole atmosphere is drunk with the sweetfragrance of these jungle-flowers. The tribal people and schedule castes of West Bengal Highlands celebrate the Baha or Sarhul festival with appropriate Jhumat accompanied with dance.

The Sarhul festival begins with the following song, 53 JHUAfAR OF THE WEST BENGAL HIGHLANDS

Sajo Sajo Laya, Shalaiphuley Sajo Sajo Layan Sindur Kajaley.

o Laya! (village priest) dress up and decorate yourself in Sal flowers; o Layan. (the wife of the village priest) dress up and decorate yourself with Sindur (vermilion) and Kajal (collyrium),

another Sarhul song from Purulia,

Bagan barir bhitarey Titir sinau Karel' 10 Gaye lal mati makhey

In the garden-house a Titir (wild bird) bathes. It smears its body with red-dust. When the keoud (Diosypyros-melanoxylon) ripens it is time to begin the sowing (called by the tribal people Hero-chandu, sowing-month) During this month Dand Sal Jhumar is also sung.

Dand Sal Jhumar· from Purulia.

Amar Bandhu hal karey Kend kanatir dhorey Hai! Hai I mathar ghani chokhey padey Dekhey hiya fatey Nanadini -Io! amijabo 'Basjam'ditey

My friend is ploughing Near Kend-kanale The sweat of his brow, Is trickling down over his eyes, Seeing this my heart breaks; Oh sister-in-law! I will go To offer him stale rice.

iBasiam - a santali word means - stale rice). When the Pial (Buchanania -Iatifalia) ripens and the atmosphere is smokey in appearance it is jete chandu (hot month). The tribal people of the area express their love for Nature as well as for their beloved in highly emotional Jhumar songs,

Santalilhumar song from Ranibandh Dt Bankura,

Hana buru noa bam tarap bilieu Chethey jam-tey moire! data gabeyen Tarap jam-tel' dada! money rapuyeu SANGEET NATAK 54

and the same song in Bengali from Purulia,

Esdungriu-dungri Pial paklo Karl khaney re mairi ! Dant gablo ? Pial khaney re dada! Mall bhang 10.

On this hill on that hill Pial ripens Oh dear! what have you eaten to stain your teeth? Oh dada, by eating 'Pial' My mind is dizzy.

(Dada - a Bengali word means - elder brother).

The rainy season is heralded by the blossoming of the karam. This period is also indicated by the drying up of the leaves of the Arjun tree.

The principal religious ceremony of the tribal people of the area is the Kadleta that is, the worship of the field spirit. It takes place in July.

The next and very important festival during.the rainvseason is the karam, in which a branch of the karam (Adina cardifoIia) tree is placed in the ground and there is all night dancing and singing round it.

Karam Jhumar in Santale from Bankura

Karam hilo: da: gey banu: a o haire da : da Chetey lekan Da: da ardiforia arsilekana o hoi re da: dajhalka

On the karam day it does not rain. The rain is shining water. The rain is glittering water.

A Santali Jhumar collected from Dt, Bankura.

Chethanapukuri rila mala, lathare pukuri rila-mola Salukad barajuring putawakanakong,

[men sundar barakhana Bara -nela thegejuring jido hayayau 55 JHUMAR OF THE WEST BENGAL HIGHLANDS

Dahado gole gole, dahade mile mile Enereo jajuring godabapade.

Water in the tank is clear and transparent. And the water-lily has blosso­ med; though the water spreads green and wide. I must try my best to pluck the flower.

A similar Jhumar in Bengali collected from Purulia

Lal Saluker phulphutey adha raley Bandhu ! Phutey adha ratey Jar sangeyjar bhab tnariley ki tutey Bandhu ! ata rath kisey ..ata rath kisey ? High audhar ratey bijali chamakey Aman sankater diney aley ba kar sathey ? Ata rath kisey Bandhu ! ata ratli kisey Ata rath kisey ?

Red water-lily blooms at mid-night Friend, it blooms at mid-night The tie of love never ends in death, Friend, why come you so late at night? The night is dark, it is overcast with clouds And the lightning flashes, In such a dreadful night With whom have you come? Why so late at-night Friend, why you are so late Why you are so late in coming?

In both these songs the girl is compared to a water-lily.

Jhumar song in Bengali from Dt. Bankura

Bhadhar maley adar 'Biri' toraita khaneyphurali Hansey, hansey Hansey, hansey tora deyarkay bhulate go Hansey, hansey Kumarer gadan Chhutarer milan Sajeychhey kaman go Hansey, hansey

In the month ofBhadra (Aug-Sep) you have eaten all the swectBiri pulses (Sathyrus-satira). You have seduced - your husband's younger brother by your repeated smiles. The shaping of a potter. the moulding of a Carpenter how finely blended. You have done mischief by your repeated smiles. SANGEET NATAK 56

In this song the lover is compared to sweet Biri pulses. In the same month of Bhadra in the barren wastes of West Bengal High­ lands Jhingas (a sort of ridged cucumber) grow in abundance. Everyday at dusk the yellow flowers ofthe vegetable creeper bloom in abundance. Like the host of daffodils, they attract everybody and dazzle every eye. In a

Jhingey phul lilek jati kul 10 Jhingcy phul Iileljati kul . Ami band bo na band-bo na Chul lo­ Band-bo-na Chul

The beautiful Jhingey flower has robbed me of everything. My prestige, caste and family prejudice everything I have lost for it. It makes me restless, makes me wild. I shall not comb my hair nor will I bind them up.

Here the lover is compared to a Jhingey flower. The rhythmn of the love song is just an echo of a meandering hill-stream. The lover's restlessness, her unfettered behaviour, her swelling emotions of love are identical with the whimsical hill-fed rivers and streams of this rugged region.

Similar Jhumar song from Dt, Banhura.

Hila liIo lila 10 lard bang ta Jaley jhamp dilo.

Hilo lila lila 10 (the rhythmn ofthe tune) the lard-bang (a big type of frog) has jumped into the water.

In this song the lover is compared with a big-type ofWater-frog.

Another Jhumar song from Dt, Purulia,

Kachi Kadamerjalikan korana bhala bhali Pakley kadam sabalkhabey karbona baran Kaehi kadam Bandhu, Chhinio na akhan Bandhu, pero na akhan Bara bara rasikjara kachj-kadam chhiu na tara Kaehi kadam Bandhu, pero na akhan Bandhu, Chhino na akhan

. Everyone is forbidden to look at a green kadam (Adina-cardifolia) fr~It. When it ripens then all may enjoy it, then no-one will prevent you. Friend, do not touch a green kadam fruit now, do not pluck it down. True 57 JHUMAR OF THE WEST BENGAL HIGHLANDS

lovers never touch a green kadam fruit, Friend! So I forbid you to touch and to pluck a green kadam fruit at present.

Here a young damsel is compared to the green kadamba fruit.

Ifit rains in torrents the joy of the people of the West Bengal Highlands know no bounds. In the 'rain-song' below the emotion of the tribal people of the area has been finely expressed,

A rain-song from Hazaribagh,

Aso ka barkhabadijor Vingjai sorey jor Aso ka barkhabadijor Ropali ham ropa dhan Badari garajey Asman. Banmey nachata Mor Aso ka barkha badi jor. Khet chained kishan thard Bharala nadikey dikhey bard Annadhan na hobaing thor Aso ka barkha badijor.

Let it rain in torrents Let us rejoice Let there be rain in torrents I have transplanted rice-plants. Above us it thunders, In the forest the peacock dances. Let it rain in torrents The field is well-cultivated The ploughman is ready Without rain precious rice cannot be obtained. Oh! let it rain in torrents!

The reverse is their emotion ifthere be no rain. In the following Santali song their heart-rending sorrow, their lamentation, their heavy sighs for drought have been vividly expressed. A drought-song in Santali from Kharagram Dt. Midnapur

Notey ho dudgar Sirama ho koasi da gey banoya Chitnantey kagey gamaiya ? SANGEET NATAK

Asard Sraban mayodaraty Ito banoya Bhadaragey dharti noreyjana Chintantey kagey gamaiya ? Sirimarey sing Bonga Oterey marang deota Chimantey sagey gamaiya ? Lai renaney da teytau Djgey senotana Chimantey kagey gamaiya ?

The sky is dusky. Above us it is smokey. The brown shadow envelops the earth:

Oh! Where is rain? During the month of Asardand Sraban Not even a drop has fallen. Look! Bhadar is also passing Oh! Where is rain, where is rain? Above our head the sun god shines Below mother earth remains Yet where is rain, where is rain? Within our stomach We feel the pinch of hunger Burning thirst breaks our hearts Alas! Where is rain - rain - rain Where is rain ?

o Amar Bhanga Ghare ke Mare Bantul o Amar Pak Pokiye Ude Gelo Kunkda Katul

My house is broken In it there is no mirth. Who is that who slings at it Stones and pellets of earth ? My cockerel flies away Groaning loud in pain. Nor does the cuckoo want To stay to sing again.

In their Jhumar dances the tribes and schedule castes of the WestBengal Highlands depict, whilethey sing the Jhumar the cutting rice plants; hurriedly carrying the bundles of rice-plants; looking over the shoulder again and again, to their lover's coming; standing on tip toe to look into their beloved's face; the catching of fish by bailing out water with their palms; obliquely looking on both sides as if searching for a lost article; the running of their hunting dogs; the shooting of arrows ; the attempted flight of a jungle bird etc, 59 JHUMAR OF THE WEST BENGAL HIGHLANDS

Their dance-posture, of searching for a lost article, reminds us of the 'cock and hen' dance of the Juangs of Orissa. The idea in the song associated with such a dance indicates that a young girl has lost her nose-ring out in the Karam clearing. But she pretends that she has dropped it in the house, for otherwise her parents may beat her. She weeps and her parents console her by promising her sweets. There is of coutse a suggestion that as the cock sleeps in the ashes, so the girl and her lover have slept among the ashes of the burnt forest and thus lost the ring.

So we see that the Jhumar songs and the accompanying dances reveal the entire economic life-cycle and emotional longings of the tribals and schedule castes of these areas. Just as the rivers and streams of the Highlands have their source in the plateau of Chhota-Nagpur and come down to the High­ lands. So also the Jhumar songs and dances originating in the plateau region have come down to the Highlands of West Bengal.

In tune, rhythm and melody that remote early tradition is still followed. The tribes and schedule castes are one with Nature. By using simple metaphors they indentify their lovers with the common and lovely things of Nature such as - Jhingey phul, Jard Bang, (Water-lily) Biri - (pulses) Pia! fruit, Mahua buds, Sal-flowers etc.

In their songs and dances, in their joys and sorrows - in their expression of emotions one can feel the rhythm and melody of the darting water-falls, the murmuring of the ripples of hill-fed streams and rivers. In the Jhumar they use only the first three or four swaras (notes) such as - sa re, ga, ma out of the seven swaras. They do not use Sri/tis, kodi or komal swaras. We do not know how or when these songs originated nor can we forsee their end. Like an eternal stream they seem to flowto eternity.

MANIK LAL SINHA, has specialised in the folk studies of west Bengal. He is at present Secretary ofthe Bangiya Sahitya Paris/rat in Bislmupur, Bankura, FOLK-SONGS OF ASSAM

Prof. Praphulladatta Goswami

Dr Birendranath Dutta

Nestling in the north-eastern corner of India, Assam has traditionally been the meeting ground ofAryan and non-Aryan modes of life and thought. Side by side with the Aryan-Assamese speaking Hindus and Muslims there live the various tribal or Adivasi groups with their Mongoloid affiliations fairly clear even now and cherishing their languages, rites and ceremonies, though washed by the tidal waves of broad Indian civilization. Thus Assam's culture is a compound of diverse elements in which the Adivasi contributions are not to be easily set aside. This peculiarity of the state's culture is fully reflected in the bewildering variety of folksongs and dances that we have in this part of India.

Perhaps the most distinctive type of folksongs of Assam, from the point of literary form and content as well as musical mode, is the Bihunam or song associated with the springtime Bihu, the most widely observed festival of the region. Bihu (from Sans. visuvan) has borh seasonal and agricultural bearings. It ushers in the New Year; it also marks the advent of seed time as also the season of mating. In fact, the festival had its roots in some earlier fertility cult. This preoccupation with fertility, both vegetal and human, is reflected in the songs and dances with their erotic overtone expressive of the joys of spring and youth. It is Bihu time which occasions an opportunity for marriageable young men and women to meet and exchange their feelings and even to choose their life partners.

The joyfulness of the festival is echoed in songs like the following:

Bihu this year is so glorious, the nahar is in blossom, its perfume so rouses my sweetie, she crushes her spinning-wheel as she walks. 61 FOLK-SONGS OF ASSAM

How [fail to persuade you, dear, to me you pay no heed, it is not a seed that will appear again, once it passes, youth is difficult to recover.

Ifyou would dance, dance well, that your fellows may see, life will go away, go to the land ofdeath, the body will be eaten up by vultures.

The Bihu songs are quatrains with alternate rhyme. While minor modi­ fications to suit individual purposes are made, the songs on the whole circulate like much-handled coins and boys and girls repeat them in certain melodic panerms suitable for the rhythm ofthe Bihu dance. There are hundreds and hundreds of such songs, some of which, judged by language and tone. must be at least a century old. Some are of comparatively recent origin. They are excellent poetry. They are primarily the language of love, often used anti-phonally. They describe beauty, adore the sweetheart, express yearning, they also speak of frustration and sorrow in life. Yearning, which combines a developed sense of beauty, seems to be the strongest inspiration:

To see you in a flash I am no lightning, nor am La flowing river, flying to see you I am no bird with two wings to my sides.

High you tied your long hair, as you walked you crushed the grass, as I looked into your eyes you smiled, my mind is distracted now.

Who made you so beautiful ? there's a smile on her face, would you see her hands, would you see herface, rose petals are her cheeks.

A jacket suited to your body, parted hair suited to your head, a jewelled keru in your ear, without sight ofyou hardly a day can I pass, how to pass an entire year!

Though lyrical in spirit, some of these songs notice various aspects of social life and the values the rural folk cherish. The physical features of the land, hills and rivers, specially the mighty Brahmaputra, frequently appear as a SANGEET NATAK 62

background to the sentiments expressed and also as suggestive of the people's affection for their land of birth. Of the two songs just to be quoted. the first one is a satire on a wife who is not able to weave well, while the second shows that the folk draw on the handloom institution for imagery :

This one calls her a weaver, that one calls her a weaver, she is a weaver indeed, she takes a month to set up her loom, she weaves for six months, the weaver takes a full year!

You are the weft offoreign yarn, dear, you are the weft offoreign yarn, you reeled in my heart as you did your cotton, your mind only you kept back.

Sung, to the accompaniment of the dhol (drum), pepa (buffalo-horn pipe), taka (bamboo clapper), and the gaganaUew's harp) and vigorous hand­ clapping, Bihu songs are set to a variety of melodic and rhythmic patterns of a robust and exciting nature. Some of the songs themselves deal with musical technicalities, for instance :

One plays the pipe with three fingers, the middle one presses, ifour dancer starts dancing like a butterfly she races.

Play the pipe to the correct rhythm, dear, play the pipe to the correct rhythm, do not play too much, do not play too fast, play to the dance rhythm.

The Huchari institution which forms a complement of the springtime Bihu has its distinctive songs known by the same name. The menfolk ofthe village form into bands, visit different households, and with dance-like move­ ments sing songs of a religious nature, wishing welfare ofthe household visited. A verse like the following has a Vaishnavite flavour,

Being soaked in the dew on the headof Krishna the bakul unfolded itspetals. a Govinda, Rama.

Religious Songs

. ~f :he manyclasses of songs composed and sung against the religious and ritualistic background of the land, perhaps the most attractive and moving 63 FOLK-SONGS OF ASSAM are those known as Ainam, sung in order to propitiate Mother Sitala, the small­ pox goddess. Ainams are characterised by a refined tenderness that flows out ofthe sincerity ofthe female mind bent in supplication: They are coming, Ai's seven sisters, across the seven mountains, Allbow their heads - the grass, the creepers, the trees,for Ai is coming. The Golden butterfly, round it circles on its two silver wings. The AIS have come to visit the homes, we beg our life ofthem. Unconsciously did we trespass into Ai's garden, unaware did we pick the buds. Forgive our crimes this once, 0 Bhavani, we lay ourselves at yourfeet. The Ais have come to poor houses, nothing do We have to offer. We will rub their feet with our hair, lie down to makefords ofour bodies ...

There are also songs similarly sung by females in praise of Lord Krishna, Lakhimi or Lakshmi, and other deities. Set to simple melodies and sung in chorus to the accompaniment of the rhythmic clapping of hands, such songs are not only devotional in spirit but furnish strength and hopefulness to the female mind in many perplexing situations ofday-to-day life. In the Goalpara region, bordering on North Bengal, where the social and religious milieu has a local distinctiveness, there is current a large body of narrative songs connected with the worship ofsuch local deities as Kati, Madan-Kam, Sonaray, and or the snake goddess.

Ritual Songs Deh-bichar songs constitute another class wrought in the religious cast, though they are not directly connected with any particular puja or rite. Generally sung by wandering mendicants to the accompaniment of the or tokari, these songs suggest that their inspiration flowed out of esoteric Tantric practices. They insist on the acceptance of a guru in order to find the hidden significance of the body (deha - body) and speak of the entrapped individual soul in symbolical language. Deh-bichar songs seem to have spiritual kinship with the Baul songs of Bengal. The following song seems to say that a person serves no purpose unless he devotes himself to the service of his spiritual master and fellow disciples, Alas, what is the use ofmy being a lovely coral? Why have I blossomed at all ? Neither to the Guru nor to the Bhakta's am I ofany use, Butjust lie covering the ground. Oh, but I blossomed, the lovely coral, 1 have budded too, Andhave served the Guru andknown the Bhaktas And lip ill heaven resided! Does the last line refer to some kind of Tantric bliss ? The language of the SANGEET NATAK 64 songs is often enigmatic, the meaning esoteric, but to the superficial observer what immediately catches the attention in these songs is the message that the h~an body is prone to decay and that mundane existence has no worth.

There is a class of songs known as Zikir (Arabic ziqr) originally saidto have been composed by a Muslim saint named Ajan (or Ajam) Fakir in the late seventeenth century. Ajan Fakir was perhaps a Sufi saint, but though the songs speak of Allah and the Quran, their language and spirit seem to be ofthe same cast as the Deh-bicharsongs, speaking in enigmatic language of a Guru, of the caged myna (the soul), offellow devotees, the worthlessness of the body, and so on. Itis rather difficultto translate such songs, but just to give an idea:

Think, 0 my mind, ofthe name ofAllah, Pay homage, 0 my mind, at the fed ofthe Guru. Water thirsts.fire suffersfrom cold, Rasul is hidden among the devotees. You do not care that Rasul lies hidden, On the gates ofMecca the key is turned, On the gate ofMecca the soul knocks, . The caged myna has many tricks, With aflutter it went away and left earthly ties, Having gone the soul remains waiting, See my creatures, the plight ofthe body.

These songs are usually sung by a group to the accompaniment of clappingin the manner of Vaishnavite people.

Also clothed in a religious garb are a large number ofsongs current in the Kamrup district which are rather popular and known as Kamrupi Loka-geet. What is remarkable about these songs is not their religion but the richnessof their musical modes. Considerably influenced by a class of Vaishnava songs of the highest sophistication and refinement, both literary and musical, the Kamrupi Lokgeets, although sung to the humble dotara and the dagar (or khanjari) demonstrate great intricacy and range in melodic and rhythmic patterns.

Songs of Love

Closely akin to the Kamrupi songs in musical structure but largelyfree from any religious affiliation, there are the Bhawaiya and Chatka songs of the Goalpara district, two essentially lyrical types, also popular in adjoining North Bengal. The Bhawaiyas are songs oflove and desire, particularly ofthe female heart yearning for male companionship. Most of the Chatkas too have love as theirtheme butthey are light and flippant in spirit. The melodies ofthe Bhawaiya are characterised by slow and floating movements evocative of~e mood of desolation and unfulfilled desire. Though musically the Bhawalya - 65 FOLK-SONGS OF ASSAM has some affinity with the Bhatiyali of East Bengal, it is by no means a variation of the latter as often wrongly assumed, but an independent style. Certain Bhawaiya songs centreround the lives of elephant-catchers and buffalo herd~rs. ... Singing of songs by the womenfolk enliven the marriage functions in Assam as in many other parts of India. Strewn over the different parts of the state there are a large variety of such songs sung at the various stages of the marriage ceremony. These songs, which are characterized by imaginative power and home-spun images, describe feelingly the beauty of the bride. her loving relationship with the family and the sorrow caused by her leave taking. Some are a commentary on the rites performed in the marriage ceremony. There are also teasing songs which are hurled at each other by the groups of singers on the bride's or the bridegroom's side. Though all these songs are sung in chorus a Namati or leader usually starts the song and sets the tune. The following song from the Sibsagar district mentions various weaving implements used by the young girl and shows how all-embracing a sorrow the giving away ofa daughter can be :

At the gate, under the areca palms, is the loom,

Her shuttle clatters, her bangles clang, but not to be heard is Aideo's voice; While yet a child the little girl askedher mother;

"What would you give as my wedding gift?" "My daughter the youngest, you would take a gold dorpati, also mahura­ kathis." in the main house weep the neothani and the jatar,for they hear the dear girl is going away. The letais and cherekis weep on the shelf, the mother weepsin the store-house, In the living-room weeps thefather. Oh, Why should they weep?

Weaving is a cottage industry in Assam, hence the constant references to weaving and spinning in the folksongs. Another song goes like this :

After her bath the maiden askedher mother: "What clothes am I to put on?" "Such that dry in the shade and hide in the clasp You are to put on."

Afterher bath the maiden asked her brother: " What flowers am I to put on Z" "Not the souti, not the malati either; "She does not put on the kharikajai; In the midst ofthe seas is the parijat, That you are to put on. n ••• SANGEET NATAK

Ballads

The age ofthe seems to be over andthe traditional are seen in printed books rather than heard on the lips ofthe minstrel. Nobody recites or sings the ballad of the amazonian princesslana; neither is heard Barphuka­ nar Geet, the historical ballad associated with the Burmese invasions ofAssam in the early partofthe last century; the ballad describing the laying of the railway in Lower Assam, composed by the Oja-Pali dancers, is forgotten; even the ballads and songs inspired by the magnetic personality ofMahatma Gandhi and the Non-co-operation Movement lie forgotten. The only ballad that is sung sometimesis Maniram Dewanar Geet, associated with the trial and hanging ofa patriotofthe 1857period. The songhas a sad and rather languo­ rous tune and goes like this :

You smokeda goldhookah, 0 Maniram, You smokeda silver hookah; What treason was it that you committed That you got a rope roundyour neck? How could they catch you, Maniram, How could they catch you? Jorhat on this side, Golaghat on that, Through a letter did they catch you. Secretly did they arrest you, 0 M 'aniram, Secretly did they take you. Holroyd Sahib on the Tokolai bank Secretly hadyou hanged....

It is not that ballads are not being composed even now, for instance, this light one, utilizing the motifofthe Chinese aggression of1962, and sung by Huchari singers during Bihu :

I heardat Sibsagar That they would bomb Dibrugarh; ifthey bomb Dibrugarh the trains would stop running, the shops would shut down; ifthe shops shut down the tins ofpowder would disappear, ifthe tins ofpowder disappear the difference between the dark and fair girls would be revealed. the fair would be carried offby the Chinese the dark would then be ours.

. The. Baratnasi ~ype of songs, current in Kamrup and Goalpara districtS, ~\'lth a slight narrative core and describing the pangs of a wife whose husband IS away on trade and the husband sometimes returning unrecognised and 67 FOLK-SONGS OF A.SSAM

testing his wife's chastity, illustrates a genre found [rom Assam to , but perhaps not in south India.

Before we end the topic of ballads, an important fragment found among the Bado-Kacharis of North Kamrup deserves to be quoted. It is an exhortation to resist Bhutiya invaders from the north, perhaps a century or so old.

Come, Bodo children. Come, let's march to battle. Armed with swords and shields, with courage in our heart, Let us go to drive back the enemy. Come. Brother Bachiram, heroic as you are, go ahead on your horse. See how the enemy is coming down trampling the ground; Ifthe battle is in a ravine, let it be, Ifthe enemy seek death, let it have death, The victory will be ofthe Bodos. No fear, Bachiram, there's nofear. Son ofa hero, yours is the victory. Brother Daoharam, take your sword Andriding your elephant, stem the surge ofthe enemy.

This is tribal materiaL

Some of the tribals, like Sonowal Kacharis of upper Assam, Pati-Rabhas of Goalpara and Lalungs of Nowgong, have their songs in the . Each tribal group has its harvest of songs and dances. Here only scantjustice can be shown to this rich material. The Miris (Michings) of Upper Assam, a riverine tribe; have their Ai-nitams, akin to Bihu songs, both in theme and music. These are highly poetic compositions, full of tender love and yearning. To give one or two example :

Just as one does not get water when one is thirsty, I CaJ11lOt see my darling though I yearn to see her.

Just as the Brahmaputraflows unceasingly, so also thoughtsfrom my tender body always flow towards you.

The comparison in these songs is explicit; in the Assamese Bihu songs the comparison is suggested rather than stated explicitly.

The Rabhas too have attractive love songs known as Chathar, These are sung at their spring-time Baikhu and the Grimbuda ceremonies. The songs are anti-phonal like Bum songs :

Youth When I sit down to have my meal The rice does not go down my throat, SANGEET NATAK

I am reminded ofyou, But I do not see your golden face.

Maiden : Sitting down at my loom I only think ofyou, When I remember you My mind is blown away.

The Bodo-Kacharis, who are scattered over a large area in lower Assam, are a musically inclined people. They have songs connected with their two big festivals, Boisagu (spring-time) and Domasi (harvest, in winter), songs of love and marriage, songs of jest and humour, and nursery rhymes. Here isa Bodo-Kachari nursery rhyme which has its parallel not only in Assamese but also in Bengali, Oriya and in one or two Central-Indian tribal languages :

o Potato, 0 Potato, why don't you sprout? The Cow tramples me, why should I sprout? o Cow, 0 Cow, why do you trample the Potato? The Cowherd does not feed me, why shouldI not trample? o Cowherd, 0 Cowherd, why don't youfeedthe Cow? There is no Stick, why should I feed the Cow? o Stick, 0 Stick, why are you not here? There's no Umbrella, why shouldI be? o Umbrella, 0 Umbrella, why are you not here? There is no rain, why should I be? o Rain, 0 Rain, why don't youfall, The frog does not croak, why should I fall? o Frog, 0 Frog, why don't you croak? The Snake bites me, why should I croak? o Snake, 0 Snake, why do you bite? The King orders me to, why should I not? o King, 0 King, why do you order the Snake, to bite? I haven't ordered, why is he soferocious?

In the Assamese parallel the object addressed first is the flower. Such songs follow a formula type pattern.

Here is a Bodo-Kachari song which states a problem:

Come friends, after picking the greens Let's go to the house ofour dear ones, Our parents have not given us away in marriage, We can't discuss this with our brothers The years have rolled by piecemeal, ' We too are ageing slowly. 69 FOLK-SONGS OF ASSAM

As for the tribal melodies, it is true that they are of a comparatively limited range, being mostly pentatonic, but they have a directness of appeal hardly found in more sophisticated music. Tribal people use a variety of indigenous instruments, among which the flute (Bodo siphung), the jew's harp (Rabha gamena), the drum, large or small, and the bamboo clapper (Bodo tharka) seemto be common. The Bodo siphung, with fiveholes, plays haunting music. The karha-nal of the Rabhas is a peculiar bamboo pipe several feet long. The string instrument (serja) that Bodos use has four strings, played with a bow.

It may now be added that rural folk in Assam respect their music and even giveit a divine origin. This reverential attitude is beautifully illustrated in the following Bihu song:

It was god who planted the seedlings ofsongs, it was a Brahma who tended them, forgive me, people, ifan unbecoming song comes out, first I sing oflove.

Bibliography

1. P. Goswami, Folk-literature of Assam, 1954, 1965. 2. P. Goswami, The Springtime Bihu ofAssam, 1966. 3. M.M. Brahma, Folksongs ofthe Bodos, 1960.

Dr. Praphulladutta Goswami, is Professor ofFolk-lore at the Un,iversity of qauhati, Assam. He is also a member ofthe Executive Board of the Society for ASlQnfolk­ lore, Indiana, U.S.A. Prof. Birendranath Dutta, teaches at Borooah College, Gauhati. He has completed his Doctoral thesis in Folk-lore studies. He is also a musician. Lfbraq lallEEI NATAK AKAD~ --- n"lliWmlnnn , Statement about ownership and other particulars about Sangeet Natak

FORM IV (As required by Rule 8 of Press Registrar's Act) Place of Publication Rabindra Bhavan, New Delhi Periodicity of Publication Quarterly Printer's Name Uma Anand Nationality Indian Address Sangeet Natak Akademi, Rabindra Bhavan, New Delhi Publisher's Name Urna Anand Nationality Indian Address Sangeet Natak Akaderni, Rabindra Bhavan, New Delhi Editor's Name Uma Anand Nationality Indian Address Sangeet Natak Akaderni, Rabindra Bhavan, New Delhi Owner's Name Sangeet Natak Akademi Address Rabindra Bhavan, New Delhi

I, Urna Anand, hereby declare that the particulars given above are true to the best of my knowledge and belief.

Uma Anand Publisher. r Registered with the Registrar of News­ papers in India under No. R. N. 12760/65