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Chapter Four: a Survey of Music at Non-Hindu Places of Prayer

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Chapter Four: a Survey of Music at Non-Hindu Places of Prayer Chapter Four: A survey of Music at Non-Hindu places of prayer In the previous chapter, a detailed survey of the Hindu places of prayer in Pune was taken. Though the Hindu prayer music occupies about 60% of the devotional musical space in Pune, the prayer music of religions other than Hindu plays an important role in completing the musical picture of the city. The devotional music of these non-Hindu faiths is also significant, as it brings the fragrance of various regional music cultures. This chapter gives a survey of music at the non-Hindu places of prayer, which include seven major religions - Jain, Buddhist, Sikh, Muslim, Jewish, Zoroastrian and Christian. 164 4.1 Survey of Music at Jain Temples in Pune: As mentioned in the second chapter, there are more than 50 Jain shrines belonging to Digambar and Shwetambar sects in the city area of Pune. In the last three decades, as the Jain community has expanded their professional and religious activities, numerous Jain temples have been built anew in different localities of Pune and the outskirts. The pattern of the musical practices in different Jain temples is decided by the dogma of the specific cult to which the temple belongs. The Digambar Jains and Sthanakwasiya Jains don’t allow musical performances in the temple, expect during Paryushan Parva and the annual festivals; they emphasize upon the recitation of Mantras and Stotras rather than singing. On the contrary, the Mandir-Margi Shwetambar Jains allow musical performances in the form of ‘Bhawana’. The use of musical instruments is also prescribed in Mandiramargi Shwetambar Jains, unlike the Sthanakwasiya Jains. During the research work, 20 Jain temples were visited. Of these, 13 temples which were musically relevant and distinct have been chosen for description here. Here are some observations after the survey of music at Jain temples in Pune. 1) Place of prayer: Shri Shantinath Digambar Saitwal Jain Mandir Religion & Cult: Jain Digambar, Address: 846, Raviwar Peth, Lonari Lane, Pune 411002, Date of establishment: 1935, Founder: Martandrao Shankarrao Lonkar, Informer: Ajit Jivadas Pandit (the priest) Details of prayer music: (A) Daily prayers – Abhishek Pooja at 8:30 am, Sayam Arati at 7:30 pm (B) Occasional – Bhajan by women troupes in month of Bhadrapad. 165 (C) Annual festivals – Rishi-Panchami, Mahavira Jayanti, etc Prayers: Vitaraag Stotra in Sanskrit, various Marathi and Gujrathi Arati-s. Method of prayer: Only the priest recites the Arati. Bhajans are sung only during Bhawana programs and festivals. Arati-s are sung in many traditional Marathi Arati tunes, tunes of Chhandas, palana, etc. Bhajans by female devotees during festivals are sung in chorus, without any musical accompaniment other than the cymbals. Instruments: Only Ghanta & tās is used for daily Arati. Ghunghru and the cymbals are used for Bhajan on special occasions, Pitch: Undefined, Language of prayer: Marathi and Gujrathi, Regional impact of music: Marathi, Influence of other music category: Folk and Art music, Use of amplification: No Architectural details: Cozy temple with height of 2 floors. Number of attendants: Regular attendance of 5-8, increases up to 40-50 during festivals. 2) Place of prayer: Shri Shantinath Digambar Khandelwal Jain Mandir Religion & Cult: Jain Digambar, Address: 520, Raviwar Peth, Lonari Lane, Pune 411002, Date of establishment: 07 February 1892 Details of prayer music: (A) Daily prayers – Only evening Arati at 7:30 pm (B) Occasional – Bhawana program on devotees wish (C) Annual festivals – Mahavira Jayanti, Kartik Paurnima, Akshay Tritiya Prayers: Daily Arati and Bhajans in Bhawana program Method of prayer: Only the priest recites the Arati. Aratis are recited in the traditional tunes. Songs in Bhawana are mostly based on Hindi film songs. Instruments: Only Ghanta is used for daily Arati. Dholak and cymbals are used in Bhawana, Pitch: Undefined, Language of prayer: Marathi, Hindi, Influence of other music category: Popular music, Use of amplification: No amplifiers Architectural details: A small prayer hall of about 18’ X 20’ X 15’ Number of attendants: One priest and approximately 10 devotees. During festivals, the number goes around 70. 166 3) Place of prayer: Shri Adeeshwar Jain Mandir Religion & Cult: Jain, Digambar, Address: 786, Shukrawar Peth, Parshwanath Chowk, Pune 411002, Date of establishment: 1834 Details of prayer music: (A) Daily prayers – at 7:00 am and 8:00 pm (B) Occasional – (-) (C) Annual festivals – Mahavira Jayanti, Paryushan Parva, Ayambil Oli, etc. Prayers: Stotra, Mantra, Arati. Method of prayer: Only the priest recites the prayer out loud. The devotees follow in their minds. No Bhajan or Bhawana programs are done here. Instruments: Only Ghanta is used, Pitch: Undefined, Language of prayer: Prakrit, Sanskrit, Gujrathi, Regional impact of music: Gujrathi, Influence of other music category: No impact of any other category, Use of amplification: No use of amplifiers, except in the case of Pravachans organized during Paryushan Parva. Architectural details: This is a highly decorated and extensively carved marble temple with three floors. It has a naturally good acoustic setup. Number of attendants: About 50 for daily prayers and more than 800 during festivals. 4) Place of prayer: Shri Dadawadi Shwetambar Jain Mandir Religion & Cult: Jain, Shwetambar, Address: Sarasbaug Road, Dadawadi, Shukrawar Peth, Pune 411037, Date of establishment: Circa 1880 Details of prayer music: (A) Daily prayers – Arati at 8:00 pm (B) Occasional – Bhawana program (C) Annual festivals – Kartik Shuddha Paurnima, Chaitra Shuddha Paurnima, Paryushan Parva Prayers: Mantra, Stotra and Arati Method of prayer: Mantra, Stotra and Arati are recited by the priest. The Arati is recited only by the Pujari while playing Ghanta. Arati is sung in popular Hindi Arati tune. 167 Instruments: Only Ghanta is used for daily Arati, Pitch: Undefined, Language of prayer: Hindi, Influence of other music category: Popular music (Hindi film songs), Use of amplification: Only during Bhawana programs and Pravachans Architectural details: A huge hall with marble carvings which has a height of about 3 floors. No amplifiers are used. Number of attendants: One priest and about 25-30 devotees. During festivals, it increased up to 150. 5) Place of prayer: Shri Parshwanath Shwetambar Jain Mandir Religion & Cult: Jain, Shwetambar, Address: 276/2, New Timber Market Road, Pune 411002, Date of establishment: 1974 Details of prayer music: (A) Daily prayers – Arati at 9:30 am and 8:00 pm (B) Occasional – Pravachans in Chaturmaas. (C) Annual festivals – Paryushan Parva. Prayers: Jain Stotras and Aratis. Bhawana programs are organized by devotees’ choice. Arati is rendered in the popular tune of the Hindi Arati, with an accompaniment of Ghanta. Bhajans are recited with an accompaniment of the Harmonium and Tabla. Most of the tunes of the Bhajans are based on popular Hindi film-song numbers. Method of prayer: Only the priest recites the Arati. Instruments: Only Ghanta is used for daily Arati, Pitch: Undefined, Language of prayer: Hindi, Gujrathi, Regional impact of music: Gujrathi, Influence of other music category: Folk, Use of amplification: No Architectural details: A huge hall with marble carvings, height of 1.5 floors Number of attendants: One priest and about 10 devotees. 6) Place of prayer: Shri Vasupujya Swami Jain Derasar Religion & Cult: Jain, Shwetambar, Address: Shri Vasupujya Swami Jain Temple Trust, 7/9, Behind Sweekar Hotel, Erandavana, Pune 04, Date of establishment: 2008 168 Details of prayer music: (A) Daily prayers – 7:30 pm (B) Occasional – Sunday at 8:00 am (2 Arati-s of Bhagwan), Bhawana singing at 6:00 pm. Bhawana program on every Paurnima. The activity of ‘Paath Shala’ (religious teachings) is held on every Friday (8:00 pm to 8:30 pm), Saturday (11:00 am to 12:00 pm) and Sunday (10:00 am to 11:00 am), in which the Stotra, Mantra, Arati are taught. (C) Annual festivals – Mahavira Jayanti, Ayambil Oli, Paryushan Parva, etc. Prayers: Mantra, Stotra and Arati, Method of prayer: Daily Arati is recited by the priest. However, a group of men sings Arati and Bhajan during Sunday morning Arati. They recite Arati in chorus voice without any instrumental accompaniment. Instruments: Only Ghanta is used for daily Arati. Harmonium, cymbals, Ghunghru is used during Bhawana, Pitch: Undefined, Language of prayer: Gujrathi, Hindi, Regional impact of music: Gujrathi, Influence of other music category: Popular, Use of amplification: No Architectural details: It is a nicely decorated marble temple with good acoustics. Number of attendants: About 8-10 for daily prayers, 20-25 for Sunday prayer and 200 during festivals. 7) Place of prayer: Shri Mahavira Digambar Jain Mandir Religion & Cult: Jain, Murtipujak Shwetambar, Address: Manik Baug, Behind Brahma Veg Restaurant, Sinhagad road, Pune 411051, Date of establishment: 2006 Details of prayer music: (A) Daily prayers – Mangal Arati at 7:30 pm, followed by Stuti Stotra (B) Occasional – On Paurnima (C) Annual festivals – Mahavira Jayanti, Ayambil Oli, etc. Prayers: Mahamangal Arati and Stuti Stotra Method of prayer: Only the priest recites the Arati and Stotra. Occasionally women sing Bhawana. 169 Instruments: Ghanta, Dholak, Pitch: Undefined, Language of prayer: Sanskrit, Hindi, Gujrathi, Regional impact of music: Gujrathi, Influence of other music category: Popular music, Use of amplification: No Architectural details: Hall of about 15’ X 30’ X 15’, with marble carvings. Number of attendants: About 8-10 for daily prayers and 50 during festivals. 8) Place of prayer: Godiji Parshwanath Jain Mandir Religion & Cult: Jain, Murtipujak Shwetambar, Address: 110/3 B, 111, Guruwar Peth, Pune 02, Date of establishment: 1750, Informer: Abhay Surya Maharaj Details of prayer music: (A) Daily prayers – at 7:30 pm (B) Occasional – Morning Arati on every Sunday and Bhawana on every Paurnima (C) Annual festivals – Paryushan Parva, Chaturmas Aradhana Utsav (Bhajan program) Prayers: Arati, Mantra and Stotra. Method of prayer: Arati recitation is undertaken by the priest in solo voice. Bhawana is rendered by groups of singers, both female and male.
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